THE  CLASSICAL  COLLECTION 


2358  ) 


Digitized  by 

the  Internet  Archive 

in  2014 

https://archive.org/details/handbookofclassiOOrich_0 


HANDBOOK 
OF 

THE  CLASSICAL  COLLECTION 


THE  METROPOLITAN  MUSEUM 
OF  ART 

HANDBOOK 
OF 

THE  CLASSICAL  COLLECTION 

BY 

GISELA  M.  A.  RICHTER 


NEW. YORK 
MCMXVI I 


COPYRIGHTED 
BY  THE   METROPOLITAN  MUSEUM 
OF  ART 
DECEMBER,  I917 


THE  G£7;  f  ClNTER 


CONTENTS 


PAGE 

Illustrations  vii 

Introduction 

The  Present  Collection  and  Its  Arrangement  .  ix 
Value  and  Appreciation  of  Greek  Art ....  xiv 

Bibliography  xix 

Handbook  of  the  Classical  Collection 
First  Room 

Prehistoric  Greek  Period,  about  3000-1  loo 

B.C  3 

Second  Room 

Early  Greek  Period,  about  1 100-550  B.C.    .  38 
Third  Room 

Archaic  Period,  Sixth  Century  B.C.  ...  59 
Fourth  Room 

First  Half  of  V  Century  B.C  87 

Fifth  Room 

Second  Half  of  V  Century  B.C  113 

Sixth  Room 

Fourth  Century  B.C  132 

Seventh  Room 

Hellenistic  Period,  lll-l  Century  B.C.  .  .154 
Eighth  and  Ninth  Rooms 

Roman  Imperial  Period,  31  B.C.  to  Fifth 

Century  A.D  175 

Central  Hall 

Greek  and  Roman  Sculptures,  Sixth  Century 
B.C.  to  Third  Century  A.D  201 

Index  261 

V 


ILLUSTRATIONS 


Figures  1-159  in  general  reproduce  objects  in  the 
classical  collection  and  are  placed  in  the  text  as  near  to  the 
descriptions  of  the  objects  they  illustrate  as  practicable. 
The  cover  design,  vignette  on  the  title-page,  and  most  of 
the  head-bands  and  tail-pieces  used  for  decoration  in  the 
chapters  have  been  drawn  from  the  objects  themselves. 
The  following  list  of  these  is  printed  for  the  convenience 
of  the  student  of  ornament. 

Cover  Design:  From  a  sixth-century  lekythos 

Case  A,  Third  Room 

Vignette  on  Title-Page:  From  a  fifth-century 
krater  Case  Q,  Fourth  Room 

Introduction 

Head-band:  From  a  sixth-century  kylix 

Case  A,  Third  Room 
Tail-piece:  From  a  fifth-century  oinochoe 

Case  K,  Fifth  Room 

Bibliography 

Head-band:  From  a  Roman  table.  In  the 

cubiculum  from  Boscoreale     .    Eighth  Room 
Tail-piece:  From  the  Kybele  chariot 

Case  M,  Eighth  Room 

First  Room 

Head-band:  From  a  vase  found  at  Pachyam- 

mos  Pedestal  G 

Tail-piece:  From  the  Snake-Goddess  group 

Case  O 

Second  Room 

Head-band:  From  a  geometric  amphora  Case  M 
Tail-piece:  From  a  Corinthian  vase     .    Case  K 

vii 


viii 


ILLUSTRATIONS 


Third  Room 

Head-band:  From  the  inside  of  an  Athenian 


krater   Case  K 

Tail-piece:  From  the  Etruscan  chariot  Case  M 

Fourth  Room 

Head-band:  From  an  Athenian  pyxis  .  Case  V 

Tail-piece:  From  a  bronze  handle  .     .  Case  A 

Fifth  Room 

Head-band:  From  the  Erechtheion     .  Case  K 

Tail-piece:  From  a  bronze  mirror   .     .  Case  A 

Sixth  Room 

Head-band:  From  the  "Tholos"  at  Epi- 

dauros   Case  A 

Tail-piece:  From  an  Apulian  plate  .  Case  V 

Seventh  Room 


Head-band:  From  a  South  Italian  plate  Case  G 
Tail-piece:  Antefix    ...    On  top  of  Case  N 


Eighth  and  Ninth  Rooms 

Head-band:  Detail  of  a  fresco  from  Bosco- 

reale  East  Wall 

Tail-piece:  From  an  Arretine  bowl .  .  Case  G 
Central  Hall 

Head-band:  Cornice  of  a  fourth  -  century 

gravestone  Number  7 

Tail-piece:  Akroterion  from  a  sixth-century 
gravestone  Number  30 

Index 

Head-band:  From  a  Lydian  vase 


Case  F,  Second  Room 
Tail-piece:  From  a  sixth-century  kylix 

Case  A,  Third  Room 


INTRODUCTION 

THE  PRESENT  COLLECTION  AND 
ITS  ARRANGEMENT 

The  opening  of  our  new  Classical  Wing  is  an  event  of 
great  importance  in  the  history  of  our  Museum,  for  it 
marks  the  beginning  of  a  properly  equipped  department 
of  Classical  Art.  The  Egyptian  department,  the  Decora- 
tive Arts  department,  the  department  of  Arms  and  Armor 
were  all  placed  in  their  present  quarters  some  years  ago; 
while  our  collections  of  Greek,  Etruscan,  and  Roman  art 
have  been  distributed  in  a  number  of  the  older  galleries 
where  no  proper  arrangement  was  possible.  In  their  scat- 
tered, overcrowded,  and  badly  lighted  condition,  they  have 
attracted  few  visitors,  and  have  not  exercised  the  domi- 
nant influence  which  a  collection  of  Greek  art  should.  This 
delay  in  adequate  installation  was  due  not  only  to  the 
many  other  calls  which  were  made  on  new  Museum  space 
as  it  became  available,  but  also  to  the  fact  that  our  collec- 
tion has  only  recently  become  large  and  important  enough 
to  fill  one  floor  of  a  whole  wing.  Before  1905  the  Museum 
owned  only  a  few  pieces  of  importance  ^ — notably  the 

^This  is  of  course  exclusive  of  the  Cesnola  Collection  of  antiquities 
from  Cyprus,  which  forms  a  separate  and  individual  whole,  and  will  also 
in  future  be  kept  as  such. 

ix 


X 


INTRODUCTION 


Etruscan  bronze  chariot,  purchased  in  1903;  the  Bosco- 
reale  frescoes,  purchased  in  1903;  a  number  of  bronzes 
given  by  Henry  G.  Marquand  in  1897;  the  Charvet  Collec- 
tion of  ancient  glass,  also  given  by  Henry  G.  Marquand; 
and  the  King  Collection  of  engraved  gems,  presented  by 
John  Taylor  Johnston  in  1881.  Besides  these,  we  pos- 
sessed only  Bucchero  vases,  Hadra  vases,  a  few  pieces  of 
Athenian  pottery,  and  some  miscellaneous  objects,  mostly 
of  minor  importance. 

Therefore  our  present  collection  has  practically  been 
created  within  the  last  twelve  years.  It  has  been  formed 
by  yearly  purchases,  mostly  with  the  Rogers  Fund,  occa- 
sionally supplemented  by  generous  gifts  and  loans.  Of  the 
latter,  the  most  important  are  a  number  of  Greek  bronzes 
lent  by  J.  Pierpont  Morgan,  the  Greau  Collection  of  Roman 
glass  and  pottery,  also  lent  by  J.  Pierpont  Morgan,  a  Greek 
marble  head  given  by  James  Loeb,  and  several  Greek  vases 
lent  by  Albert  Gallatin. ^ 

Up  to  now  our  classical  collections  have  been  exhibited 
according  to  material,  that  is,  all  marble  sculptures  have 
been  placed  together,  all  bronzes,  all  terracottas,  all  vases, 
and  so  on.  In  Wing  J,  in  which  the  objects  are  now  shown, 
a  different  plan  has  been  tried.  In  the  Central  Hall  the 
larger  marble  sculptures  of  all  periods  are  indeed  exhibited 
together;  but  in  the  other  galleries — nine  in  all — the  objects 
are  arranged  according  to  periods.  In  each  gallery  are 
placed  the  bronzes,  terracottas,  vases,  glass,  gems,  beads, 
and  other  pieces  which  belong  to  one  and  the  same  epoch, 
the  only  exception  being  the  objects  of  gold  and  silver, 
which  are  retained  in  a  special  room  (Gallery  C  32)  for 
reasons  of  safety. 

^The  fine  bronze  portrait-head  given  by  Benjamin  Altman  and  a  collec- 
tion of  Greek  and  Roman  pottery  and  glass  given  by  Edward  C.  Moore, 
belong  to  restricted  collections  and  have  had  to  be  exhibited  with  them. 


xii 


INTRODUCTION 


The  advantages  of  this  chronological  arrangement  are 
apparent.  Not  only  does  the  variety  of  material  add  to 
the  general  attractiveness  of  the  rooms,  but  the  visitor  can 
obtain  a  more  comprehensive  idea  of  the  gradual  develop- 
ment of  classical  art  in  all  its  branches.  For  as  he  passes 
from  one  gallery  to  another  the  story  of  Greek  art  unfolds 
itself  before  his  eyes.  He  can  watch  the  successive  stages 
of  this  art — the  early  struggles,  the  full  achievement,  and 
the  gradual  deterioration — in  all  the  objects  before  him,  of 
whatever  material  they  happen  to  be.  He  can  see  at  a 
glance  what  special  classes  of  products  were  in  vogue  at 
different  times.  And  more  important  still,  he  is  able  to 
make  comparative  studies  between  the  various  materials 
in  each  room,  and  trace  relations  between  them.  He  will 
find  many  points  of  contact,  for  instance,  between  the 
figures  on  the  Etruscan  bronze  chariot  and  those  on  the 
vases  and  the  bronze  statuettes  in  the  same  room,  which 
will  show  him  the  dependence  of  Etruscan  art  on  Greek 
models.  He  will  learn  how  the  bronze  helmets  and  greaves 
were  worn,  by  merely  turning  to  the  reliefs  or  to  the  vases 
in  the  same  room,  where  warriors  are  depicted  wearing 
them.  He  can  see  how  certain  fourth-century  mirrors 
were  used,  by  looking  at  a  terracotta  statuette  in  an  ad- 
joining case.    And  so  on,  in  innumerable  instances. 

The  reasons  why  most  museums  have  hitherto  exhibited 
their  classical  collections  by  material  rather  than  by  periods 
are  easy  to  understand.  Most  of  the  important  classical 
collections,  those,  for  instance,  in  London,  Paris,  Berlin, 
and  Munich,  are  so  large  that  the  material  has  become 
unwieldy.  The  vases,  in  particular,  even  if  distributed, 
would  swamp  every  gallery  with  their  numbers.  Some  of 
the  smaller  collections,  on  the  other  hand,  particularly  in 
Italy,  are  often  one-sided,  being  largely  derived  from 
special  excavations.    In  our  own  classical  collection,  how- 


INTRODUCTION 


Xlll 


ever,  conditions  for  period  grouping  were  highly  favorable. 
Though  comparatively  small,  it  is  still  unusually  represen- 
tative, having  been  formed  largely  by  carefully  selected 
purchases;  so  that  it  has  been  possible  to  arrange  a  room 
for  each  important  period. 

The  general  plan,  then,  for  the  arrangement  of  our  col- 
lection, is  the  inclusion  of  all  our  originals  of  Greek,  Etrus- 
can, and  Roman  art,^  and  the  grouping  of  this  material 
according  to  periods.  To  this  general  rule  a  few  exceptions 
had  to  be  made.  In  trying  to  divide  certain  classes  of 
objects  according  to  definite  periods,  the  border  lines  are 
sometimes  difficult  to  draw;  for  there  always  is  some  over- 
lapping. Every  change  is  gradual;  and  often  when  a  new 
type  of  vase  or  mirror  or  safety-pin  has  been  introduced, 
the  old  ones  linger  on.  In  all  these  cases  the  objects  have 
been  placed  in  the  period  in  which  they  were  most  in  vogue, 
and  of  which  they  are  the  natural  expression. 

In  the  Roman  Imperial  epoch  it  became  the  practice  to 
make  copies  of  Greek  works  of  earlier  periods.  Though 
this  applies  chiefiy  to  statues  (see  p.  176),  it  is  also  true  of 
smaller  pieces,  especially  of  bronze  statuettes.  Where  such 
copies  are  faithful  reproductions  of  Greek  originals,  they 
have  been  included  in  the  sections  to  which  they  stylisti- 
cally belong;  only  where  the  copyist  introduced  new  ele- 
ments of  his  own  have  they  been  classed  with  works  of  the 
Roman  period. 

All  the  objects  in  our  collection  exhibited  in  this  new 
wing  are  originals.  Casts  and  reproductions  are  shown  in 
other  parts  of  the  building.  In  only  one  room  was  an 
exception  made  to  this  rule — in  the  First  Room,  which 
illustrates  Greek  prehistoric  art.  Circumstances  are  such 
that  it  is  impossible  to  obtain  any  important  originals  from 
Crete,  where  excavations  have  recently  brought  to  light 

1  Except,  of  course,  duplicates  or  careless,  unimportant  pieces. 


XIV 


INTRODUCTION 


the  remains  of  a  wonderful  early  civilization.  In  order, 
therefore,  adequately  to  illustrate  this  important  period  of 
ancient  art,  we  have  had  exact  copies  made  of  many  of  the 
more  remarkable  wall-paintings  and  other  objects,  and 
these  form  the  main  part  of  the  exhibits  in  Room  1.  To 
these  are  added  a  few  original  terracotta  and  stone  vases 
and  other  minor  pieces,  obtained  at  various  times.  To 
prevent  confusion,  each  case  is  carefully  labeled  as  con- 
taining either  originals  or  reproductions. 

As  stated  above,  the  Cesnola  Collection  of  antiquities 
from  Cyprus  has  been  kept  separate  from  the  rest  of  the 
classical  collections,  inasmuch  as  Cypriote  art  has  an 
entirely  local  and  individual  character.  It  includes,  how- 
ever, a  few  important  pieces  which  are  clearly  products  of 
pure  Greek  rather  than  Cypriote  art,  and  which  were  per- 
haps imported.  These  have  been  incorporated  with  the 
rest  of  our  Greek  collections. ^ 

VALUE  AND  APPRECIATION  OF  GREEK  ART 

It  may  be  of  interest,  before  giving  specific  descriptions 
of  our  objects,  to  consider  briefly  the  value  and  apprecia- 
tion of  Greek  art.  Why  is  it  that  Greek  art  occupies  a 
unique  position,  and  is  even  to  this  day  worthy  of  the  most 
detailed  study?  First  of  all,  the  Greeks,  as  has  been  well 
said,  are  our  spiritual  ancestors.  It  was  they  among  all 
the  ancient  peoples  that  in  politics,  literature,  philosophy, 
and  also  in  art  pointed  the  way  which  we  have  since  fol- 
lowed, and  thus  laid  the  foundations  of  our  western  civili- 
zation. For  even  though  the  classical  civilization  was  lost 
during  the  Middle  Ages,  it  was  its  revival  in  the  days  of 

^They  are  the  bronze  statuettes  Nos.  5012,  5013,  5014,  and  the  gems 
Nos.  4172-74,  4193-95,  4198-4201,  4210,  4220-26,  4229,  4233-36,  4238- 
39,  4240-52,  4278,  4280-91,  4296-97  in  Myres,  Handbook  of  the  Cesnola 
Collection. 


INTRODUCTION 


XV 


the  Renaissance  which  brought  about  that  wonderful  re- 
birth of  culture  on  which  we  moderns  have  built  our 
structure.  Therefore,  if  we  wish  to  understand  our  own 
civilization,  and  to  know  why  it  has  taken  the  form  which 
it  has,  we  have  to  go  to  its  originators,  the  Greeks. 

It  is  not  only  for  historical  reasons,  however,  that  Greek 
art  is  an  important  study  for  us  today.  The  Greeks  were 
more  than  pioneers.  In  art  and  literature,  at  least,  they 
achieved  what  may  be  termed  perfection;  and  yet  they 
started  at  the  beginning.  So,  in  seeing  Greek  art  develop 
from  its  primitive  origins,  through  many  intermediate 
stages,  to  final  excellence,  we  study  the  evolution  of  art; 
and  this  constitutes  an  artistic  training  of  the  first  order. 

The  chief  value  of  Greek  art,  however,  lies  in  its  inherent 
beauty.  The  Greeks  were  the  most  artistic  people  the 
world  has  known,  and  there  is  no  better  way  for  the  train- 
ing of  eye  and  taste  than  to  spend  some  time  in  their  com- 
pany. They  will  supply  a  standard  which  will  make  us 
enjoy  not  only  their  art,  but  other  arts,  and  which  will 
help  us  to  cultivate  that  discrimination  between  good  and 
bad  which  is  essential  in  the  training  of  both  artist  and 
student.  Moreover,  their  conception  of  beauty  is  one  of 
which  we  are  much  in  need  today.  The  calm  remoteness 
which  distinguishes  their  best  works  is  in  such  contrast  to 
the  restlessness  of  modern  life  that  it  affects  us  like  the 
quiet  of  a  cathedral  after  the  bustle  and  confusion  of  the 
streets. 

In  order  properly  to  appreciate  Greek  art  we  must  also 
understand  the  Greek  spirit.  This  is  not  difficult;  for 
there  is  an  essential  likeness  between  the  Greeks  and  our- 
selves. No  such  adjustment  is  necessary  as  in  the  study, 
for  instance,  of  an  Oriental  and  alien  civilization.  There 
are,  however,  certain  difi'erences  which  it  is  important  to 
bear  in  mind.    Perhaps  the  most  prominent  and  far- 


XVI 


INTRODUCTION 


reaching  characteristic  which  distinguishes  the  Greek  from 
us  is  that  he  was  a  "humanist."  He  humanized  his  re- 
Hgion  and  created  his  gods  in  human  shape,  of  hke  passions 
to  himself.  He  humanized  nature  and  peopled  the  winds 
and  rivers  and  fountains  with  creatures  of  human  form. 
And  he  humanized  hfe.  In  other  words,  to  him  "man  was 
the  measure  of  all  things." 

In  his  art  this  attitude  is  reflected  in  the  importance 
given  to  the  representation  of  the  human  body  and  in  the 
full  realization  of  its  beauty.  It  became  the  chief  theme 
of  the  artist,  and  for  several  centuries  its  representation 
captivated  his  interest  to  the  exclusion  of  almost  all  else. 
But  this  interest  in  physical  beauty  was  not  in  any  way 
material.  The  Greek  conception  of  a  good  life  was  a  har- 
monious, many-sided  existence,  in  which  mind  and  body 
found  full  scope  for  rich  development;  so  that  beauty  of 
body  and  beauty  of  mind  and  character  were  to  the  Greeks 
almost  inseparable.  KaXo?  ica^aQo<^,  "  beautiful  and  good," 
is  their  expression  for  what  we  should  call  a  gentleman. 
What  a  fme  blending  of  physical  and  mental  beauty  this 
ideal  produced  we  can  see  in  the  types  preserved  us  from 
the  Greek  art  of  the  best  period.  For  here  the  Greek  sense 
of  beauty  found  full  expression.  It  showed  itself  not  only 
in  the  unsurpassed  loveliness  of  its  productions,  but  in  the 
elimination  of  all  that  is  abnormal  and  extravagant.  It  is 
in  this  sense  that  the  Greek  artist  was  an  idealist.  He  felt 
that  in  art,  which  to  him  was  the  creation  of  beauty, 
everything  extraneous  to  this  object  must  be  avoided. 
Hence  also  the  restraint  and  sense  of  fitness  which  pervade 
all  his  works. 

Another  important  quality  in  which  the  Greeks  differ 
from  us  is  their  directness.  Their  representations  are 
always  straightforward  and  simple.  If  they  wished  to 
represent  the  birth  of  the  goddess  of  wisdom  from  the 


INTRODUCTION 


XVll 


brain  of  their  chief  god,  they  depicted  Hephaistos  cleaving 
the  head  of  Zeus  with  an  axe,  and  Athena  emerging,  fully 
armed.  When  they  conceived  their  heroes  fighting  evil 
powers,  they  showed  them  in  combats  with  lions,  boars, 
bulls,  and  monsters.  To  try  to  explain  Greek  representa- 
tions on  metaphysical  grounds,  and  to  read  our  own  more 
complicated  thoughts  and  emotions  into  them,  is  to  mis- 
understand the  directness  and  spontaneity  of  Greek  imag- 
ination. Most  of  the  sentimentality  with  which  many 
people  view  Greek  art  nowadays  is  due  to  a  failure  to 
understand  the  fme  simplicity  of  the  Greeks.  ^iXoKoXovfjuev 
fjier  €VT€\€la<^,  "we  are  lovers  of  beauty  without  extrava- 
gance," is  what  Perikles  said  of  the  Athenians  in  his  famous 
Funeral  Speech.^  We  shall  understand  their  art  only  if  we 
apply  ''extravagance"  to  thought  as  well  as  to  material 
things. 

^Thucydides,  1 1,  40. 


i 


BIBLIOGRAPHY 

THIS  BIBLIOGRAPHY  IS  NOT  INTENDED  TO  BE 
IN  ANY  SENSE  EXHAUSTIVE;  IT  INCLUDES  ONLY 
THE  MORE  IMPORTANT  BOOKS  OF  INTEREST 
TO  THE  GENERAL  READER.  ADDITIONAL  IN- 
FORMATION ON  OBJECTS  IN  OUR  COLLECTION 
WILL  BE  FOUND  IN  THE  MUSEUM  BULLETINS 


PERIODICALS 

American  Journal  of  Archaeology.    From  1885. 
Annual  of  the  British  School  at  Athens.    London,  from 
1894. 

Annual  of  the  British  School  at  Rome.  London,  from 
1902. 

Athenische  Mitteilungen  des  deutschen  archaologischen 
Instituts.    Athens,  from  1876. 

Antike  Denkmaler.    Berlin,  from  1891. 

Bulletin  de  correspondance  hellenique.  Paris,  from  1877; 
Athens,  from  1885. 

Fondation  Piot.  Monuments  et  memoires  publics  par 
Tacademie  des  inscriptions.    From  1894. 

Jahrbuch  des  deutschen  archaologischen  Instituts.  Ber- 
lin, from  1886;  with  Beiblatt,  Archaologischer  An- 
zeiger,  from  1889. 

Jahreshefte  des  k.  k.  oesterreichischen  archaologischen 
Institutes  in  Wien.    Vienna,  from  1898;  with  Beiblatt. 


XX  BIBLIOGRAPHY 

Journal  of  Hellenic  Studies.    London,  from  1881. 
Monumenti  antichi  pubblicati  per  cura  della  reale  accade- 

mia  dei  Lincei.    Rome,  from  1890. 
Monumenti  inediti  dell'  instituto  di  correspondenza  archeo- 

logica.    Rome,  1829- 1885. 
Revue  archeologique.    Paris,  from  1844. 
Romische  Mitteilungen  des  deutschen  archaologischen  In- 

stituts.    Rome,  from  1886. 

LEXICONS 

Daremberg,  C,  Saglio,  E.,  &  Pottier,  E.    Dictionnaire  des 

antiquites  grecques  et  romaines.    Paris,  from  1877. 

(Still  in  progress.) 
Roscher,  W.  H.    Lexicon  der  griechischen  und  romischen 

Mythologie.  Leipzig,  from  1884.  (Still  in  progress.) 
Smith,  W.    Dictionary  of  Greek  and  Roman  Antiquities. 

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GENERAL  WORKS 

Abrahams,  E.  B.    Greek  Dress.    London,  1908. 
Baumeister,  A.    Denkmaler  des  klassischen  Alterthums, 

I-lll.    Munich,  1884-1888. 
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Bliimner,  H.    Technologic  und  Terminologie  der  Gewerbe 

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D'Ooge,  M.  L.  The  Acropolis  of  Athens.  New  York  and 
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Minns,  E.  H.    Scythians  and  Greeks.    London,  1914. 

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Perrot,  G.,  &  Chipiez,  C.  Histoire  de  I'art  dans  I'an- 
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Springer,  A.  Handbuch  der  Kunstgeschichte,  I.  Seventh 
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Zimmern,  A.  E.  The  Greek  Commonwealth.  Oxford,  1911. 

The  olficial  publications  of  excavations,  especially  those 
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PREHELLENIC  GREECE 

Baikie,  J.    The  Sea- Kings  of  Crete.    London,  1910. 

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Evans,  Sir  A.  J.    Scripta  Minoa,  I.    Oxford,  1909. 

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Hall,  H.  R.    Aegean  Archaeology.    London,  1915. 

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Maraghiannis,  G.  Antiquites  cretoises,  I-II.  Candia, 
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Reisinger,  E.  Kretische  Vasenmalerei  vom  Kamares-  bis 
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Schuchhardt,  C.  Schliemann's  Excavations,  translated 
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Wace,  A.  J.  B.,  &  Thompson,  M.  S.  Prehistoric  Thessaly. 
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ARCHITECTURE 

Anderson,  W.  J.,  &  Spiers,  R.  P.  The  Architecture  of 
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Collignon,  L.  M.  Le  Parthenon:  I'histoire,  I'architecture 
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Durm,  J.  Die  Baukunst  der  Griechen.  Second  edition. 
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Goodyear,  W.  H.  Greek  Refinements.  New  Haven,  191 2. 
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Mau,  A.  Pompeii:  Its  Life  and  Art,  translated  by  F.  W. 
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Noack,  F.    Die  Baukunst  des  Altertums.    Berlin,  1910. 

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Rider,  B.  C.    The  Greek  House.    Cambridge,  191 6. 

Vitruvius.  The  Ten  Books  on  Architecture,  translated  by 
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SCULPTURE 

Arndt,  P.   Griechische  und  romische  Portrats.  Munich, 

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Furtwangler,  A.  Masterpieces  of  Greek  Sculpture.  Lon- 
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Gardner,  P.  Sculptured  Tombs  of  Hellas.  London,  1896. 

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Lippold,  G.  Griechische  Portratstatuen.  Munich,  1912. 
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xxvi 


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TERRACOTTAS 

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Winter,  F.   Die  Typen  der  figiirlichen  Terrakotten,  I-IL 

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VASES 

Beazley,  J.  D.    Attic  Red-Figured  Vases  in  American 

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Leipzig  and  Berlin,  1910. 
Buschor,  E.  Griechische  Vasenmalerei.  Munich,  191 3. 
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Furtwangler,  A.,  &  Reichhold,  K.  Die  griechische  Vasen- 
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Hartwig,  P.  Die  griechischen  Meisterschalen  des  strengen 
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Hoppin,  J.  C.  Euthymides  and  His  Fellows.  Cambridge, 
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XXVll 


Klein,  W.  Euphronios,  eine  Studie  zur  Geschichte  der 
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Second  edition.    Vienna,  1898. 

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Kretschmer,  P.  Die  griechischen  Vaseninschriften  ihrer 
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Mayer,  M.  ApuHen  vor  und  wahrend  der  Hellenisirung. 
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Pottier,  E.  Douris  and  the  Painters  of  Greek  Vases,  trans- 
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Rayet,  O.,  &  Collignon,  L.  M.  Histoire  de  la  ceramique 
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Reinach,  S.  Repertoire  des  vases  peints,  I-II.  Paris, 
1 899- 1 900. 

Riezler,  W.  Weissgrundige  attische  Lekythen,  nach  Furt- 
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Walters,  H.  B.  History  of  Ancient  Pottery,  I-II.  Lon- 
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GEMS 

Furtwangler,  A.  Die  antiken  Gemmen,  I-II  I.  Leipzig, 
1900. 

Middleton,  J.  H.  The  Engraved  Gems  of  Classical  Times. 

Cambridge,  1891. 
Osborne,  D.    Engraved  Gems,  Signets,  Talismans,  and 

Ornamental  Intaglios,  Ancient  and  Modern.  New 

York,  1912. 

PAINTING 

Breitschedel,  O.  Zur  Technik  der  romisch-pompejanischen 
Wandmalerei.    Munich,  191 1. 


xxviii 


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Gerlich,  F.  Die  Technik  der  romisch-pompejanischen 
Wandmalerei,  in  Neue  Jahrbiicher  fiir  das  klassische 
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Hermann,  P.  Denkmaler  der  Malerei.  Munich.  (In 
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Laurie,  H.  P.    Greek  and  Roman  Methods  of  Painting. 

Cambridge,  1910. 
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GLASS 

Dillon,  E.    Glass.    New  York,  1907. 

Kisa,  A.  C.    Das  Glas  im  Altertume.    Leipzig,  1908. 

CATALOGUES 
A.  MUSEUMS 

Austria 
Vienna 

Masner,  K.  Die  Sammlung  antiker  Vasen  und 
Terracotten.    Vienna,  1892. 

Denmark 

Copenhagen 

Arndt,  P.  La  Glyptotheque  Ny-Carlsberg,  les 
monuments  antiques.    Munich,  19 12. 

England 
London 

Smith,  A.  H.  A  Catalogue  of  Sculpture  in  the 
British  Museum,  1-111.  London,  1 892-1 904. 

Walters,  H.  B.  Catalogue  of  the  Bronzes  in  the 
British  Museum.    London,  1899. 

 Select  Bronzes,  Greek,  Roman,  and  Etrus- 
can, in  the  British  Museum.  London,  191 5. 


BIBLIOGRAPHY 


xxix 


England  (continued) 
London  (continued) 

Walters,  H.  B.  Catalogue  of  the  Terracottas  in 
the  Department  of  Greek  and  Roman  An- 
tiquities, in  the  British  Museum.  London, 
1903. 

 Catalogue  of  the  Greek  and  Roman  Lamps 

in  the  British  Museum.    London,  1914. 

 Catalogue  of  Roman  Pottery  in  the  British 

Museum.    London,  1909. 

Walters,  H.  B.,  &  Smith,  C.  H.  Catalogue  of  the 
Greek  and  Etruscan  Vases,  I,  2,  II-IV.  Lon- 
don, 1893-1912. 

Dalton,  O.  M.  Catalogue  of  the  Engraved  Gems 
of  the  Post-Classical  Periods  in  the  British 
Museum.    London,  191 5. 

Smith,  A.  H.  Catalogue  of  Engraved  Gems  in 
the  British  Museum.    London,  1888. 

Marshall,  F.  H.  Catalogue  of  the  Finger  Rings, 
Greek,  Etruscan,  and  Roman,  in  the  British 
Museum.    London,  1907. 

 Catalogue  of  the  Jewelry,  Greek,  Etruscan, 

and  Roman,  in  the  British  Museum.  Lon- 
don, 191 1. 

Oxford 

Gardner,  P.  Catalogue  of  the  Greek  Vases  in  the 
Ashmolean  Museum.    Oxford,  1893. 

France 
Paris 

Froehner,  C.  E.  L.  W.  Notice  de  la  sculpture 
antique  du  Louvre.    Paris,  1869. 

Ridder,  A.  de.  Les  Bronzes  antiques  du  Louvre, 
l-ll.    Paris,  1913-1915. 


XXX 


BIBLIOGRAPHY 


France  (continued) 
Paris  (continued) 

Heuzey,  L.    Les  Figurines  antiques  de  terre  cuite 

du  musee  du  Louvre.    Paris,  1883. 
Pettier,  E.    Catalogue  des  vases  antiques  de 
terre  cuite  du  Louvre,  I-IIL   Paris,  1896- 
1906. 

Babelon,  E.  Le  Cabinet  des  antiques  a  la  Bi- 
bliotheque  nationale.    Paris,  1887. 

Babelon,  E.,  &  Blanchet,  A.  Catalogue  des 
bronzes  antiques  de  la  Bibliotheque  natio- 
nale.   Paris,  1895. 

Ridder,  A.  de.  Catalogue  des  vases  peints  de  la 
Bibliotheque  nationale,  1-11.  Paris,  1901- 
1902. 

Germany 
Berlin 

Conze,  A.  C.  L.  Konigliche  Museen  zu  Berlin, 
Beschreibung  der  antiken  Skulpturen.  Ber- 
lin, 1 89 1. 

Furtwangler,  A.  Beschreibung  der  Vasensamm- 
lung  im  Antiquarium,  1-11.    Berlin,  1885. 

 Konigliche  Museen  zu  Berlin,  Beschreibung 

der  geschnittenen  Steine  im  Antiquarium. 
Berlin,  1896. 
Karlsruhe 

Schumacher,  K.  Grossherzogliche  vereinigte 
Sammlungen  zu  Karlsruhe,  Beschreibung 
der  Sammlung  antiker  Bronzen.  Karlsruhe, 
1890. 

Winnefeld,  H.  Grossherzogliche  vereinigte 
Sammlungen  zu  Karlsruhe,  Beschreibung  der 
Vasensammlung.    Karlsruhe,  1887. 


BIBLIOGRAPHY 


xxxi 


Germany  (continued) 
Mainz 

Behm,  F.  Romische  Keramik  mit  Einschluss  der 
hellenistischen  Vorstufen.    Mainz,  1910. 

Munich 

Furtwangler,  A.   Beschreibung  der  Glyptothek. 

Second  edition.    Munich,  19 10. 
Sieveking,  J.,  &  Hackl,  R.  Die  konigHche  Vasen- 

sammlung  zu  Mlinchen,  I.    Munich,  1912. 

Greece 
Athens 

Stais,  V.  Guide  illustre  du  Musee  national 
d'Athenes:  la  collection  mycenienne.  Athens, 
1909. 

 Guide  illustre  du  Musee  national  d'Athenes: 

Marbres  et  bronzes.  Second  edition.  Athens, 
I 909-1 9 10. 

Collignon,  M.  L.,  &  Couve,  L.  Catalogue  des 
vases  peints  du  Musee  national  d'Athenes. 
Paris,  1902;  Supplement  by  G,  Nicole. 
Paris,  1911. 

Dickins,  G.  Catalogue  of  the  Acropolis  Museum, 

1:  Archaic  Sculpture.    Cambridge,  19 12. 
Schrader,  H.  Auswahl  archaischer  Marmorskulp- 

turen  im  Akropolismuseum.  Vienna,  191 3. 
Graef,  B.  Die  antiken  Vasen  von  der  Akropolis 

zu  Athen.    Berlin,  191 1. 
Ridder,  A.  de.    Catalogue  des  bronzes  de  la 

Societe   Archeologique   d'Athenes.  Paris, 

1894. 

 Catalogue  des  bronzes  trouves  sur  I'Acro- 

pole  d'Athenes.    Paris,  1896. 


xxxii 


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Italy 

Diitschke,  H.  Antike  Bildwerke  in  Oberitalien, 
I-V.    Leipzig,  1874-1882. 

Bologna 

Pellegrini,  G.  Catalogo  dei  vasi  greci  dipinti  delle 
necropoli  felsinee.    Bologna,  19 12. 

Florence 

Amelung,  W.    Fiihrer  durch  die  Antiken  in 

Florenz.    Munich,  1897. 
Milani,  L.  A.    II  Reale  Museo  archeologico  di 

Firenze.    Florence,  1912. 

Naples 

Guida  illustrata  del  Museo  Nazionale  di  Napoli, 

I.    Naples,  191 1 . 
Heydemann,    H.     Die   Vasensammlungen  des 

Museo  Nazionale  zu  Neapel.    Berlin,  1872. 

Rome 

Amelung,  W.,  &  Holzinger,  H.  The  Museums 
and  Ruins  of  Rome,  l-Il.  English  edition. 
New  York,  1906. 

Amelung,  W.  Die  Sculpturen  des  Vaticanischen 
Museums,  I-Il.    Berlin,  1903. 

Helbig,  K.  F.  W.  Fiihrer  durch  die  offentlichen 
Sammlungen  klassischer  Altertiimer  in  Rom. 
Third  edition.    Leipzig,  19 12-19 13. 

Jones,  H.  S.  (editor).  A  Catalogue  of  the  Sculp- 
tures of  the  Museo  Capitolino.  Oxford,  1912. 

Russia 

Petrograd 

Kieseritzky,  G.  von.  Sculptures  in  the  Hermitage 
(in  Russian).    St.  Petersburg,  1901. 

Stephani,  L.  von.  Die  Vasen-Sammlung  der  kai- 
serlichen  Ermitage.  St.  Petersburg,  1869. 


BIBLIOGRAPHY 


XXXIII 


Spain 

Madrid 

Alvarez-Ossorio,  F.  Vasas  griegos,  etruscos  e 
italo-griegos  que  se  conservan  en  el  Museo 
arquelogico  nacional.    Madrid,  1910. 

Leroux,  G.  Vases  grecs  et  italo-grecs  du  Musee 
archeologique  de  Madrid.  Bordeaux,  19 12. 

Turkey 

Constantinople 

Mendel,  G.  Catalogue  des  figurines  grecques  de 
terre  cuite  aux  Musees  Imperiaux-Ottomans. 
Constantinople,  1908. 

United  States 
Boston 

Chase,  G.  H.  Catalogue  of  Arretine  Pottery  in 
the  Museum  of  Fine  Arts.  Boston  and  New 
York,  1916. 

Robinson,  E.  Catalogue  of  Greek,  Etruscan,  and 
Roman  Vases  in  the  Museum  of  Fine  Arts. 
Boston,  1893. 

Chicago 

Tarbell,  F.  B.  Catalogue  of  the  Bronzes,  etc.,  in 
the  Field  Museum  of  Natural  History,  re- 
produced from  originals  in  the  National 
Museum  of  Naples.    Chicago,  1909. 

New  York 

Myres,  J.  L.  Handbook  of  the  Cesnola  Collection 
of  Antiquities  from  Cyprus.  New  York,  19 14. 

Richter,  G.  M.  A.  Greek,  Etruscan,  and  Roman 
Bronzes  in  the  Metropolitan  Museum  of  Art. 
New  York,  191 5. 


XXxiv  BIBLIOGRAPHY 

B.    PRIVATE  COLLECTIONS 

Charvet  Collection 

Froehner,  C.  E.  L.  W.  La  Verrerie  antique,  descrip- 
tion de  la  Collection  Charvet.    Le  Pecq,  1879. 
Collection  de  Clercq 

Ridder,  A.  de.    Catalogue  de  la  Collection  de  Clercq, 
III-IV,  VI-VII.    Paris,  1904-1911. 
Great  Britain 

Michaelis,  A.    Ancient  Marbles  in  Great  Britain, 
translated  by  C.  A.  M.  Fennell.  Cambridge,  1882. 
Greau  Collection 

Froehner,  C.  E.  L.  W.  Collection  Julien  Greau,  ap- 
partenant  a  J.  P.  Morgan.    Paris,  1903. 
LoEB  Collection 

Sieveking,  J.    Die  Bronzen  der  Sammlung  Loeb. 

Munich,  191 3. 
Chase,  G.  11.  The  Loeb  Collection  of  Arretine  Pot- 
tery.   New  York,  1908. 
Morgan  Collection 

Smith,  Sir  C.  H.  Collection  of  J.  P.  Morgan,  Bronzes, 
Antique  Greek,  Roman,  etc.    Paris,  191 3. 


I 


HANDBOOK 
OF  THE 
CLASSICAL  COLLECTION 


FIRST  ROOM 
PREHISTORIC  GREEK  PERIOD' 

ABOUT  3000-1  100  B.C. 

Th  E  excavations  of  the  last  half  century  have  revealed 
a  civilization  of  high  antiquity  in  Greek  lands,  an  account 
of  which  will  henceforth  always  have  to  form  the  opening 
chapter  of  any  history  of  Greek  art.  Before  these  dis- 
coveries, the  study  of  Greece  was  confined  to  the  classical 
periods  during  the  first  millennium  B.C.;  and  this  history 
seemed  complete  in  itself,  for  it  recorded  the  primitive 
beginnings,  the  gradual  rise  and  flowering,  and  the  subse- 
quent fall  and  disintegration  of  a  homogeneous  culture. 
But  now  we  know  that  before  the  Indo-European  tribes 
invaded  Greece  from  the  North,  another  people  had  domi- 
nated the  Aegean  world  for  more  than  two  thousand  years, 
and  had  evolved  an  independent  culture  and  art  of  high 
standing. 

Our  knowledge  of  this  earlier  Greek  civilization  we 
owe  almost  entirely  to  the  spade  of  the  archaeologist. 
There  is  no  literature  to  help  us,  for  the  only  written 
records  are  as  yet  undeciphered.    And  the  classical  Greeks 

^  I  want  here  to  acknowledge  my  obligation  to  Mr.  Richard  B.  Seager, 
who  has  read  through  this  section  of  the  book  in  MS.,  and  who  has  given 
me  a  number  of  helpful  suggestions. 

3 


4  FIRSTROOM 

knew  little  of  their  predecessors;  only  a  legend  here  and 
there  harks  back  to  this  distant  past.  For  this  reason  the 
gradual  unfolding  of  that  long-forgotten  civilization  is  one 
of  the  most  sensational  as  well  as  most  important  feats  of 
archaeology. 

The  story  of  this  feat  reads  like  a  romance.  It  has 
often  been  told,  so  we  need  only  repeat  here  the  salient 
points.  The  first  actor  in  the  drama  was  Heinrich  Schlie- 
mann  (born  in  1822  in  Mecklenburg-Schwerin),  who  con- 
ceived the  idea  of  digging  for  the  city  of  Troy.  He  had 
heard  of  Homer's  heroes,  and  had  become  convinced  that 
Troy  had  really  existed,  and  that  its  ruins  must  still  be 
standing.  He  spent  a  youth  of  poverty  and  hardship,  but 
afterwards  amassed  a  fortune,  and  when  of  middle  age  was 
free  to  realize  the  dream  of  his  life.  After  a  few  years  of 
preparation,  in  spite  of  the  skepticism  of  contemporary 
archaeologists,  he  started  excavations  in  1871.  His  faith 
and  his  enterprise  were  rewarded.  He  found  not  only 
Troy,  but,  later,  Mycenae  and  Tiryns.  His  discoveries, 
especially  the  famous  shaft-graves  at  Mycenae,  with  their 
treasures  of  gold,  astonished  the  world.  The  "  heroic  age" 
of  Greece,  heretofore  regarded  as  a  mere  myth,  became  a 
reality.  Soon  other  discoveries  belonging  to  the  same 
epoch  were  made  at  Vaphio  and  elsewhere;  and  the  chief 
concern  of  archaeologists  then  became  to  fmd  the  original 
home  of  this  civilization.  Unmistakable  clues  pointed  to 
the  island  of  Crete.  Since  legends  had  proved  to  be  such 
useful  pathfinders,  the  stories  of  the  sea-king  Minos,  with 
his  Minotaur  and  Labyrinth,  and  of  the  birth  of  Zeus  in 
the  cave  of  Dikte,  assumed  a  new  aspect.  Isolated  dis- 
coveries on  the  island  pointed  in  the  same  direction.  For 
some  time,  however,  no  excavations  could  be  undertaken, 
for  Crete  was  under  Turkish  rule  and  in  a  constant  state 
of  revolution.    As  soon  as  conditions  were  more  favorable, 


PREHISTORIC     GREEK     PERIOD  5 

Dr.  A.  J.  Evans  (now  Sir  Arthur  Evans)  of  Oxford,  and 
Dr.  Federigo  Halbherr  of  Rome,  started  on  their  quest. 
In  1900  Sir  Arthur  Evans  began  excavations  on  the  site  of 
Knossos,  which  he  had  secured  some  years  before.  His 
results  were  even  more  fruitful  than  the  most  sanguine 
expected.  Within  a  few  years  he  unearthed  a  large  palace 
with  spacious  courtyards  and  numerous  living-rooms,  bath- 
rooms, magazines,  and  staircases,  of  a  plan  so  complicated 
that  it  might  well  be  called  a  Labyrinth. ^  In  its  finished 
appointments  and  its  advanced  methods  of  sanitation  it 
furnished  many  surprises  to  those  who  had  pictured  to 
themselves  the  prehistoric  Greeks  leading  a  primitive 
existence.  But  more  important  yet  was  the  harvest  of  art 
objects — the  paintings  from  the  walls  of  the  palace,  the 
colored  reliefs  and  statuettes,  the  pottery  and  seal-stones, 
which  all  bore  testimony  to  the  originality  and  artistic 
sense  of  these  early  Cretans. 

In  the  meantime  the  Italian  expedition  under  Halbherr 
had  discovered  two  palaces  at  Phaistos  and  Hagia  Triada 
in  Southern  Crete.  The  finds,  especially  at  Hagia  Triada, 
were  of  great  interest,  confirming  and  supplementing  the 
knowledge  obtained  at  Knossos.  Since  then,  other  work- 
ers have  continually  added  to  our  store  of  knowledge, 
notably  Miss  Harriet  Boyd  (now  Mrs.  C.  H.  Hawes)  in 
her  excavations  of  the  town  of  Gournia,  D.  Hogarth  and 
R.  C.  Bosanquet  in  the  excavations  of  the  British  School 
at  Zakro  and  Palaikastro,  and  more  recently  R.  B.  Seager 
in  his  discoveries  at  Mochlos,  Pseira,  and  other  sites.  The 
soil  of  Crete,  of  the  Greek  mainland,  and  of  the  Aegean 
Islands  has  by  no  means  been  exhausted,  and  we  may 

1  The  word  Labyrinth  may  not  improbably  be  derived  from  lahrys, 
double  axe,  which  is  a  symbol  frequently  found  at  Knossos.  In  that 
case  the  first  meaning  of  Labyrinth  was  House  of  the  Double  Axes,  and 
later,  on  account  of  the  intricate  plan  of  the  palace,  it  became  synony- 
mous with  a  maze. 


6 


FIRST  ROOM 


expect  a  great  extension  of  our  knowledge  in  years  to  come; 
especially  should  a  bilingual  inscription  be  found,  which 
would  enable  us  to  read  the  Cretan  script.  But  we  have 
enough  at  hand  now  to  reconstruct  on  broad  lines  this 
civilization  in  its  various  stages. 

The  Cretan  civilization  is  essentially  a  product  of  the 
Bronze  Age,  that  is,  of  the  epoch  when  implements  were 
no  longer  of  stone,  and  not  yet  of  iron,  but  were  all  of 
bronze.  Its  beginnings  can  indeed  be  traced  to  the  Neo- 
lithic or  Late  Stone  Age,  but  when  it  emerged  into  the 
daylight  of  a  less  primitive  existence,  the  Bronze  Age 
had  been  reached;  and  it  is  during  the  two  thousand 
years  covered  by  that  era  that  this  civilization  had  its 
rise,  its  culmination,  and  its  fall;  by  the  time  the  Iron 
Age  was  introduced,  at  the  end  of  the  second  millen- 
nium B.C.,  Cretan  civilization  had  played  its  part  and 
disappeared. 

In  examining  the  objects  assembled  in  Room  I,  illustrat- 
ing this  early  epoch,  we  must  carefully  distinguish  between 
originals  and  reproductions;  for  in  this  room,  for  reasons 
stated  above  (see  p.  xiii),  an  exception  has  been  made  to 
our  regular  practice,  and  originals  and  reproductions  are 
exhibited  together.  The  reproductions,  which  form  by 
far  the  greater  part  of  the  collection,  are  mostly  the  work 
of  M.  E.  Gillieron,  of  Athens.  The  originals,  consisting 
of  vases,  vase-fragments,  and  a  few  objects  in  stone  and 
bronze,  have  been  acquired  from  various  sources  by  gift 
or  exchange. 

It  is  important  to  realize  that,  like  every  other  nation 
which  has  won  distinction,  the  Cretans  passed  through  sev- 
eral stages  of  growth  before  reaching  the  culmination  of 
their  civilization.  The  chief  characteristics  of  these  pe- 
riods have  now  been  fairly  well  established  by  the  careful 
work  of  the  excavators.   Sir  Arthur  Evans's  classification 


PREHISTORIC     GREEK     PERIOD  7 

into  three  main  epochs,  Early,  Middle,  and  Late  Minoan,^ 
each  with  three  subdivisions,  is  a  convenient  skeleton  on 
which  to  reconstruct  the  history  as  we  know  it.  The 
following  dating  is  based  on  the  minimum  system  of 
Egyptian  chronology,  now  indorsed  by  most  Cretan  ex- 
cavators : 


Early  Minoan  I  Before  2800  B.C. 


FIG.    I  .     STONE   VASES  FROM  MOCHLOS 


Middle  Minoan  1 
Middle  Minoan  II 
Middle  Minoan  III 

Late  Minoan  I 
Late  Minoan  1 1 
Late  Minoan  1 1 1 


About  2200-2000  B.C. 
About  2000-1800  B.C. 
About  1 800- 1 600  B.C. 

About  1 600-1 500  B.C. 
About  1 500-1350  B.C. 
About  1350-1100  B.C. 


^  The  word  Minoan,  derived  from  the  name  Minos,  is,  strictly  speak- 
ing, only  appropriate  for  the  Late  Minoan  period,  during  which  king 
Minos  hved.  But  since  his  brilliant  reign  typifies  for  us  what  we  under- 
stand by  "Cretan"  and  even  Aegean  as  a  whole,  it  would  be  difficult, 
in  spite  of  this  obvious  anachronism,  to  find  a  more  comprehensive  and 
suggestive  term. 


8 


FIRST  ROOM 


EARLY  MINOAN  PERIOD 

ABOUT  3000-2200  B.C. 

The  most  important  remains  of  the  Early  Minoan  period 
(roughly  synchronous  with  the  Old  Kingdom  of  Egypt) 
have  been  found  in  the  eastern  part  of  Crete,  especially  at 
Gournia,  Vasiliki,  Palaikastro,  Pseira,  and  Mochlos.  Con- 
ditions were  by  no  means  as  primitive  then  as  was  once 
thought.  The  people  were  rich  and  prosperous,  lived  in 
comfortable  houses,  and  apparently  had  communications 
with  the  outside  world,  especially  with  Egypt,  in  their 
crafts,  some  of  which  are  of  surprising  technical  or  artistic 
excellence,  we  already  notice  certain  marked  characteris- 
tics, which  were  to  distinguish  Cretan  work  throughout  its 
history.  Such  are,  on  the  one  hand,  a  tendency  to  experi- 
ment, observable  especially  in  their  pottery,  and,  on  the 
other,  a  readiness  to  utilize  foreign  products  and  transform 
them  into  their  own  independent  creations.  The  latter 
Stone        quality  can  be  seen  in  the  beautiful  stone  vases  found  by 

Vases 

Case  Q  Seager  at  Pseira  and  Mochlos,  of  which  reproductions 

are  exhibited  in  Case  Q  (fig.  i).  These  show  marked  Egyp- 
tian influence,  in  technique  and  occasionally  in  form,  and 
yet  are  essentially  different  from  their  models.  Not  only 
are  the  majority  of  the  shapes  Cretan,  but  the  choice  of 
color  in  the  stones  used  shows  a  much  greater  variety  than 
in  similar  stone  vases  from  Egypt. 

We  have  as  yet  no  reproductions  of  the  beautiful  gold 
jewelry  of  this  period  found  at  Mochlos;  but  we  are  for- 

Pottery      tunate  in  having  a  number  of  original  pieces  of  pottery  (fig. 

Case  s  2) — vases  and  vase-fragments — belonging  to  this  epoch 
(placed  in  Case  S).  Four  distinct  styles  can  be  distin- 
guished: (i)  pottery  of  reddish  clay,  covered  with  a  more 
or  less  lustrous  black  slip  in  imitation  of  the  black,  hand- 
polished  neolithic  ware;  (2)  dark-on-light  geometric  ware 


PREHISTORIC     GREEK     PERIOD  9 

(linear  designs  painted  in  brown  or  black  paint  on  buff 
clay;  (3)  mottled  red  and  black,  or  plain  red  ware,  with 
polished  surface;  (4)  white-on-black  geometric  ware  (lin- 
ear designs  painted  in  white  on  dark  paint).  Compared 
with  the  stone  vases  and  the  jewelry,  these  vases  appear 
primitive;  but  the  great  variety  of  form  and  decoration 
contains  much  promise  of  future  development. 

The  sculptural  productions  of  the  period  consist  of  primi- 
tive marble  idols,  similar  to  those  found  in  the  Cycladic 


FIG.  2.      EARLY  MINOAN  POTTERY 


Islands.   Between  these  and  the  wonderful  portrait  sculp- 
tures produced  in  contemporary  Egypt  there  is  no  connec- 
tion.  In  the  seal-engravings,  however,  besides  rude,  native  Seal 
pictographs,  are  found  some  of  more  developed,  formal  char-  (^^^^ 
acter,  evidently  produced  under  the  influence  of  Egypt.  A 
few  impressions  of  the  former  type  will  be  found  in  Case  D. 

MIDDLE  MINOAN  PERIOD 

ABOUT  2200-1600  B.C. 

In  the  Middle  Minoan  period,  which  is  about  contem- 
porary with  the  Middle  Kingdom  of  Egypt,  Cretan  civili- 
zation reached  its  first  climax.  Crete  was  now  in  active 
intercourse  with  foreign  lands,  and  her  increased  trade 
brought  greater  wealth  to  her  inhabitants,  as  is  shown  by 
the  building  of  the  first  palaces  of  Knossos  and  Phaistos, 
and,  in  the  Middle  Minoan  1 1 1  period,  the  beginning  of  the 


10 


FIRST  ROOM 


second  Knossian  palace.  A  great  advance  was  made  in  the 
various  arts.  Especially  remarkable  is  the  polychrome  pot- 
tery, which,  with  its  rich  coloring  and  often  egg-shell  thin- 
ness, is  perhaps  the  most  striking  that  has  been  found  in 
Crete.  Work  in  metal  was  equally  flourishing,  for  a  num- 
ber of  beautiful  metal  cups  and  some  gold  jewelry  have 
been  found.  Seal-engraving  likewise  reflects  the  general 
advance;  while  the  rude  pictographs  of  the  preceding  peri- 
od are  evolved  first  into  a  hieroglyphic  system  of  writing, 
and,  before  the  end  of  the  period,  into  linear  script. 

This  period  is  represented  in  Crete  not  only  at  Knossos 
and  Phaistos  and  in  neighboring  sites,  but  also  in  the  east- 
ern part  of  the  island,  at  Gournia,  Pseira,  Mochlos,  Pach- 
yammos,  etc.  It  can  be  fairly  well  studied  in  its  various 
phases  in  our  collection.  In  Case  S  are  shown  a  number  of 
Pottery  original  specimens,  both  whole  vases  (some  partly  restored) 
Case  S  2ind  vase-fragments.  The  influence  of  contemporary  metal- 
work  will  be  seen  in  the  shapes  of  the  vases  and  in  the  general 
precision  of  the  work.  A  study  of  these  vases  will  show  that 
the  rich  polychrome  style  in  which  white,  red,  and  orange 
are  applied  on  a  blackish  ground,  is  restricted  to  the  Middle 
Minoan  1 1  period.  The  earlier  and  later  specimens  (Middle 
Minoan  I  and  111)  show  only  white  on  a  dark  ground,  and 
are,  moreover,  made  of  a  thicker  clay.  In  the  decoration, 
one  of  the  most  interesting  features  is  the  gradual  evolution 
from  the  geometric  to  the  naturalistic  style,  in  which  the 
designs  imitate  natural  objects.  This  naturalistic  style  ap- 
pears fully  developed  in  the  Middle  Minoan  111  period, 
and  is  well  illustrated  in  the  three  burial  jars  from  Pach- 
yammos  (Pedestals  C,  E,  N),  on  one  of  which  is  a  charming 
picture  of  dolphins  swimming  (see  head-band,  p.  3). 

Side  by  side  with  the  polychrome  style,  and  contempo- 
rary with  it,  appears  a  pottery  with  monochrome  decoration. 
The  designs,  which  are  painted  in  lustrous  black,  are  not 


PREHISTORIC     GREEK     PERIOD  II 

carried  out  with  the  same  precision  as  in  the  polychrome 
variety,  but  are  treated  in  a  sketchy  manner,  the  paint 
being  used  in  large  daubs  and  splashes.  The  most  interest- 
ing piece  of  this  style  in  our  collection  is  a  large  beaked  jug 
from  Knossos,  decorated  on  each  side  with  the  figure  of  a 
bird.  This  may  perhaps  be  an 
importation  from  the  island  of 
Melos,  where  a  number  of  similar 
vases  have  been  found. 

Of  even  greater  interest  than 
the  vases  of  this  period  is  the 
collection  of  objects  in  faience, 
unearthed  by  Sir  Arthur  Evans 
at  Knossos,  in  what  appears  to 
have  been  a  temple  treasury. 
They  consist  of  a  snake  goddess 
and  her  attendants,  and  various 
other  objects,  all  executed  with 
remarkable  skill  in  richly  colored 
glazed  earthenware.  A  set  of  re- 
productions is  shown  in  Case  O. 
Two  figures  of  women  (about  a 
foot  high),  dressed  in  an  extraor- 
dinarily modern-looking  costume, 
are  holding  snakes  at  arm's  fig.  3.  snake  goddess 
length,  while  other  snakes  are  from  knossos 

coiled  round  them  (see  fig.  3). 

The  costume  is  typically  Minoan,  consisting  of  a  richly  em- 
broidered jacket  with  open  front,  laced  bodice,  and,  in  one 
case,  a  flounced  skirt.  What  the  significance  of  this  group 
was  we  can  only  conjecture;  that  it  was  religious  is  highly 
probable,  and  since  we  know  from  many  other  representa- 
tions that  the  chief  divinity  of  Crete  was  a  mother-goddess, 
it  is  likely  that  we  have  here  a  representation  of  her.  The 


12 


FIRST  ROOM 


Other  objects  found  in  the  same  temple  repository  are  of  great 
variety.  There  are  votive  robes  decorated  with  crocuses 
(see  tail-piece,  p.  37);  votive  girdles  and  shields;  flying  fish, 
cockle  shells,  rocks,  and  seaweed;  beautifully  shaped  cups 
decorated  with  fern-like  sprays;  and,  most  remarkable  of 
all,  two  reliefs,  one  a  group  of  a  cow  and  calf,  the  other  of 
a  goat  with  her  young  (fig.  4).  The  naturalistic  style  al- 
ready observed  on  contemporary  pottery  is  here  shown  at 
its  height.   The  representations  are  studied  directly  from 

nature,  and  repro- 
duced in  a  delight- 
fully spontaneous 
and  sympathetic 
manner. 

Several  other  re- 
productions of  ob- 
jects belonging  to 
the  Middle  Minoan 
period  will  be  found 
in  Case  R.  A  stea- 
tite head  of  a  bull 
from  Knossos  is  a 
fine  example  of  sculptural  work.  It  probably  served  as  a 
rhyton  or  libation  vase,  since  it  has  a  hole  at  the  top  of 
the  head  and  one  in  the  mouth,  as  well  as  a  lid  which  fits 
the  back.  A  steatite  libation  table  found  in  the  Diktaean 
Cave  is  specially  interesting  for  the  inscription  it  bears. 
The"Phaistos  Disk'' is  by  far  the  longest  written  docu- 
ment found  in  Crete.  It  is  covered  on  both  sides  with  a 
continuous  hieroglyphic  inscription  arranged  in  a  spiral. 
The  signs,  which  were  stamped  into  the  clay  while  it  was 
wet,  consist  of  human  figures  and  animals  or  their  parts, 
plants,  weapons,  and  various  implements.  Some  of  these 
signs  bear  an  unmistakable  resemblance  to  other  Minoan 


FIG.  4.      cow   WITH   HER  YOUNG 
FROM  KNOSSOS 


PREHISTORIC     GREEK     PERIOD  I3 

hieroglyphs,  but  a  large  number  of  them  are  new,  and 
others  are  distinctly  un-Minoan.  Sir  Arthur  Evans  ac- 
cordingly believes  the  disk  to  be  non-Cretan  and  the 
product  of  a  "parallel  and  closely  allied  culture  existing 
somewhere  on  the  Southwest  coastlands  of  Asia  Minor." 


FIG.   5.     CAT  HUNTING  A  PHEASANT 
FRESCO   FROM  HAGIA  TRIADA 


LATE  MINOAN  PERIOD 

ABOUT   1 600- 1  100  B.C. 

In  the  Late  Minoan  period,  which  is  parallel  with  the 
Empire  of  Egypt,  the  second  and  greater  climax  of  Cretan 
civilization  was  reached.  The  ascendancy  of  Crete  in  the 
Aegean  world  was  now  complete,  and  her  influence,  or  per- 
haps her  domination,  was  asserted  throughout  the  Cycladic 
Islands  and  the  mainland  of  Greece.  With  Egypt,  the  other 
great  civilized  power  of  the  epoch,  she  had  close  and  it 
would  seem  friendly  connections.    This  is  the  period  in 


14  FIRSTROOM 

which  king  Minos  lived,  whose  fame  survived  in  Greek 
legends,  and  to  whose  brilHant  personaHty  the  greatness  of 
Crete  at  this  time  may  in  no  small  measure  be  due. 

In  discussing  the  remains  of  this  period  we  can  no  longer 
restrict  ourselves  to  the  island  of  Crete.  Both  the  mainland 
of  Greece  and  the  Aegean  Islands  have  yielded  valuable 
objects,  some  of  which  may  have  been  imported  from 

Crete,  while  others  are  cer- 
tainly of  local  manufacture. 
But  whatever  the  prove- 
nance, the  art  of  this  period 
is  homogeneous  and  must 
be  treated  as  a  whole.  For 
convenience  of  classification 
and  to  understand  more 
clearly  the  successive  styles 
of  this  period,  we  shall  di- 
vide our  material  into  the  First,  Second,  and  Third  Late 
Minoan  epochs. 

Late  Minoan  I  (1600-1500  b.c.) 

In  Crete  the  beginning  of  the  period  (Late  Minoan  I) 
marks  the  height  of  prosperity  of  the  smaller  sites,  such  as 
Hagia  Triada,  Gournia,  and  Zakro.  Here  we  find  all  the 
signs  of  an  era  of  peace  and  quiet  well-being,  and  this  is  re- 
flected in  the  delicacy  of  its  artistic  productions.  In  Greece 
Minoan  art  shows  itself  securely  established,  as  evinced  by 
the  finds  at  Mycenae,  Vaphio,  Thebes,  Tiryns,  and  else- 
where. 

Among  the  remains  of  this  period,  the  most  significant 
are  the  wall-paintings.  Copies  of  some  of  the  most  impor- 
tant examples,  found  chiefiy  in  the  small  palace  of  Hagia 
Triada,  are  in  our  collection  (North  Wall,  Nos.  9,  10,  13, 
14,  16,  17;  East  Wall,  No.  5).    The  best  known  is  the  fa- 


FIG.  6.  FLYING  FISH 
FRESCO  FROM  MELOS 


PREHISTORIC     GREEK     PERIOD  I5 

mous  painting  of  a  cat  hunting  a  pheasant  (No.  17;  fig.  5). 
The  scene  is  laid  in  a  rocky  landscape,  with  a  spreading  ivy 
plant  in  the  center;  to  the  left  a  pheasant  with  a  long  tail 
and  bright  plumage  is  perched  on  a  tree  trunk  or  rock,  un- 
conscious of  approaching  danger;  behind  it,  a  cat  is  ad- 
vancing with  stealthy  tread  and  eyes  fixed  on  its  prey, 
ready  for  the  final  spring. 
As  an  example  of  sympa- 
thetic study  of  animal  life, 
simply  but  effectively  ren- 
dered, this  scene  could  hard- 
ly be  surpassed. 

In  the  same  room  of  the 
palace  were  found  other 
fragments  of  frescoes,  also 
depicting  out-of-door  life. 
One  represents  a  hare,  of 
which  all  but  the  head  is 
preserved,  running  at  full 
speed  (No.  i6).  Another 
shows  a  flowering  plant  and 
branches  of  ivy  delicately 
painted  in  brownish  tints 
(No.  1 3) ;  on  the  left  of  these 
can  still  be  seen  the  curved  back  and  the  horn  of  an  animal, 
probably  a  bull.  On  others  we  see  stately  lilies  (No.  14), 
drooping  crocuses,  and  delicately  veined  leaves  (No.  10). 
The  representation  of  a  woman  in  a  brightly  colored  cos- 
tume (No.  5)  belongs  to  the  same  series.  She  wears  what 
at  first  sight  appears  to  be  a  pair  of  loose  trousers,  but  is 
more  probably  the  familiar  bell-shaped  skirt  ending  in  a 
point  in  the  middle  of  the  front.  It  is  of  a  sky-blue  color, 
ornamented  with  red  crosses  on  a  white  ground,  and  with 
variegated  flounces,  and  it  is  an  excellent  example  of  the 


l6  FIRSTROOM 

gay  Minoan  costumes.  Most  of  the  upper  part  of  the 
figure  is  missing. 

At  Knossos  the  Late  Minoan  I  period  is  only  sparsely 
represented.  The  only  example  of  fresco  painting  is  a  boy 
gathering  crocuses  and  placing  them  in  a  vase  (West  Wall, 
No.  33).  It  shows  the  same  spon- 
taneity and  delicacy  of  feeling  as 
the  Hagia  Triada  paintings. 

The  fresco  of  the  flying  fish  from 
Phylakopi  in  Melos  (South  Wall,  No. 
38)  is  another  example  of  this  same 
naturalistic  style  (fig.  6).  Whether 
it  was  painted  in  Melos  or  imported 
from  Crete,  it  bears  witness  to  the 
close  connection  between  Crete  and 
the  Aegean  Islands. 

The  chief  sculptural  works  of  this 
period  which  have  been  recovered  in 
Crete  are  the  little  ivory  figures  of 
divers  found  at  Knossos,  and  three 
steatite  vases  with  reliefs  from  Hagia 
Triada.  Our  collection  includes 
copies  of  two  of  the  latter,  the  fa- 
mous "Harvester  Vase"  (fig.  7)  and 
the  "Boxer  Vase"  (fig.  8).  The 
former  (Case  L)  is  decorated  with 
a  procession  of  twenty-six  men  marching  gaily  to  the 
tune  of  an  Egyptian  sistrum.  Some  are  singing  with  evi- 
dent enjoyment,  their  mouths  wide  open.  At  the  head  of 
the  procession  is  a  personage  clad  in  a  scaly  cuirass.  The 
rest  are  nude,  except  for  a  loin-cloth,  and  most  of  them 
carry  "winnowing  forks"  over  their  shoulders,  so  that  they 
probably  represent  peasants.  The  splendid  movement  of 
the  figures  in  their  swinging  march,  the  animation  of  the 


PREHISTORIC     GREEK     PERIOD  I7 

faces,  and  the  skilful  way  in  which  the  relief  is  managed, 
make  this  vase  a  masterpiece  of  Cretan  art.  Such  spirit 
and  realism  are  not  met  with  again  until  the  Hellenistic 
period,  almost  1400  years  later. 

The  decoration  of  the  Boxer  Vase  (Case  J)  is  full  of  the  Case  J 
same  animation.  The  subjects  represented  are  boxing 
matches  and  a  bull  hunt.  Some  of  the  boxers  wear  helmets 
with  visors  and  cheek-pieces,  as  well  as  boxing  gloves.  In 
the  bull-hunt  two  powerful  bulls  are  seen  charging  to  the 
left,  one  of  them  tossing  a  man  on  his  horns. 


FIG.  9.     GOLD  CUPS   FROM  VAPHIO 
WITH   BULL-HUNTING  SCENES 


These  steatite  vases  were  m  all  probability  gilded,  and  <^ol^- 

•    •      •  r       1  1      •  I  J  1    •  1  smith'; 

were  thus  imitations  of  goldsmith  s  work  in  a  cheaper  Work 
material.  Gold  vases,  having  intrinsic  value,  are  of  course 
not  nearly  so  likely  to  survive  as  those  of  stone  or  clay.  By 
sorne  good  fortune,  however,  there  has  been  preserved  a 
series  of  gold  vases,  which  show  the  goldsmith's  art  of  this 
period  at  a  high  level.  These  come  not  from  Crete,  but 
from  Greece,  where  the  wealthy  princes  of  the  land  (who 
were  perhaps  Minoan  conquerors)  must  have  lived  in  high 
estate.  The  majority  were  found  by  Schliemann  in  the 
shaft-graves  at  Mycenae,  while  the  two  best  known,  the 
Vaphio  cups  (fig.  9),  decorated  with  scenes  of  bull-hunting, 
come  from  a  Laconian  grave.    The  most  notable  examples 


i8 


FIRST  ROOM 


are  shown  in  our  collection  in  electrotype  reproductions 
Case  T  (Case  T).  Their  forms  and  decorations  have  evoked  much 
admiration,  and  they  have  been  frequently  copied  by  mod- 
ern craftsmen.  Whether  they  were  made  in  Greece  or 
imported  from  Crete  is  a  debated  question.  The  close 
parallelism  between  the  bull  scenes  of  the  Vaphio  cups  and 
that  on  the  Boxer  Vase  from  Hagia  Triada  makes  a  Cretan 
origin  for  the  former  at  least  probable. 

The  other  reproductions  in  this  case  show  the  variety 


FIG.    lO.     INLAm  DAGGERS  FROM  MYCENAE 


of  objects  found  in  the  shaft-graves  of  Mycenae:  masks, 
ornaments,  a  silver  head  of  a  bull,  a  fme  series  of  engraved 
gold  rings,  and — most  noteworthy  of  all — bronze  dagger- 
blades  with  scenes  inlaid  in  different  metals  (fig.  lo);  of 
these,  one  represents  a  lion  hunt,  another  three  running 
lions,  while  two  show  spiral  and  floral  designs.  All  are  exe- 
cuted with  great  freedom  of  style. 

The  engraving  of  hard  stones  was  another  branch  of  art 
in  which  the  Minoans  achieved  great  results.  Our  collec- 
tion includes  a  large  number  of  plaster  impressions  of  en- 
graved gems  and  sealings  from  both  Crete  and  the  main- 
land, and  nine  original  stones  (Case  D).  The  majority  of 
these  belong  to  the  first  or  second  Late  Minoan  period; 


Engraved 
Stones 
Case  D 


PREHISTORIC     GREEK     PERIOD  IQ 

while  a  few  must  be  placed  in  the  Late  Minoan  1 1 1  period. 
The  subjects  selected  for  representation  are  cult  scenes  of 
men  and  women  sacrificing,  deities  and  demons,  hunting 
and  war  scenes,  and,  above  all,  animals.  Occasionally  a 
lack  of  perspective,  and  a  desire  to  fill  the  whole  circular 
space  of  the  gem  resulted  in  all  sorts  of  contortions,  but  on 


FIG.    II.     CRETAN  POTTERY 


the  whole  the  figures,  especially  those  of  animals,  are  ren- 
dered with  great  truth  to  nature.  And  everywhere  we 
notice  the  same  interest  in  movement  and  life  that  is  char- 
acteristic of  all  products  of  Minoan  art. 

The  pottery  of  the  Late  Minoan  I  period  is  represented  Pottery 
by  a  number  of  reproductions,  as  well  as  some  original  ma- 
terial, which  will  give  a  good  idea  of  the  prevalent  shapes 
and  decoration.   Both  in  style  and  in  technique  it  is  the  di- 
rect outcome  of  the  pottery  of  the  preceding  period.  Pure 


20 


FIRST  ROOM 


naturalism  has  now  become  the  dominant  characteristic,  the 
motives  being  taken  almost  entirely  from  plant  and  marine 
life.  The  lily,  the  iris,  the  crocus,  grasses,  and  tendrils  are 
favorite  subjects,  as  well  as  the  octopus,  the  nautilus  shell, 
and  seaweeds.  These  are  executed  in  a  free  and  graceful 
style,  with  a  fine  feeling  for  selection  and  grouping.  Of  the 
two  techniques  in  vogue  during  the  Middle  Minoan  period, 
the  light-on-dark  was  not  long  retained  in  this  epoch,  while 
the  dark-on-light,  in  which  the  designs  are  painted  in  lus- 
trous brown  glaze  on  the  buff  ground  of  the  clay,  gained 
complete  ascendancy.  It  should  be  noted  that  details  are 
often  picked  out  in  white  paint.  The  shapes  show  consid- 
erable variety,  the  conical  filler  and  the  one-handled  cup 
being  the  most  popular.  The  so-called  stirrup  vase,  which 
was  to  become  a  great  favorite  in  the  Late  Minoan  III 
period,  now  makes  its  first  appearance. 

Noteworthy  examples  of  reproductions  of  this  pottery 
Case  U  have  been  placed  in  Case  U  (fig.  1 1).  Foremost  must  be 
mentioned  the  "  stirrup-vase"  from  Gournia  with  its  real- 
istic octopus  and  other  sea-plants  and  sea-animals.  The 
decoration  has  been  compared  to  an  aquarium.  If  so,  it 
is  an  aquarium  consciously  arranged,  for  the  composition 
shows  no  mere  chance  combination,  but  a  decorative  group- 
ing comparable  to  an  Oriental  animal  rug.  The  same  com- 
bination of  naturalism  with  strong  decorative  feeling  is 
shown  in  greater  or  less  degree  in  the  other  examples,  for 
instance,  in  the  one-handled  vase  from  Zakro,  the  dolphin 
filler  from  Pseira,  and  the  "  fillers  "  from  Gournia  and  Hagia 
Triada. 

Case  H  Of  the  original  specimens  in  our  collection  (Case  H)  spe- 

cial mention  must  be  made  of  a  "fiower-pot"  from  Phyla- 
kopi  in  Melos,  with  a  decoration  of  grasses  (top  shelf);  a 
cup  from  Pseira  with  a  simple  spiral  ornament;  a  cup  of 
the  shape  of  the  Vaphio  cups,  also  with  a  spiral  ornament. 


PREHISTORIC     GREEK  PERIOD 


In  the  same  case  with  this  pottery  are  exhibited  several 
stone  vases  and  bronzes  of  this  period,  mostly  found  at 
Gournia. 

Late  Minoan  II  (i 500-1350  b.c.) 

The  Late  Minoan  1 1  period  was  one  of  wealth  and  splen- 
dor. Our  interest  in  Crete  now  centers  in  the  great  palaces, 
instead  of  in  the  smaller  sites.  The 
palace  of  Knossos  was  remodeled  on  a 
large  scale,  and  the  second  palace  of 
Phaistos  was  built.  The  imposing 
ruins  of  these  palaces  are  still  stand- 
ing; and  with  their  spacious  courts, 
broad  stairways,  pillared  halls,  and 
luxurious  fittings  testify  to  the  bril- 
liance and  refinement  which  surround- 
ed the  life  of  the  Minoan  princes  of 
this  epoch.  Greece  was  still  under 
Cretan  infiuence,  copying  and  import- 
ing Cretan  works  of  art. 

Besides  architectural  remains  there 
has  been  found,  especially  at  Knossos, 
a  large  amount  of  material — fragments 
of  wall-paintings,  colored  reliefs,  stone 
vases,  pottery,  engraved  stones,  in- 
scribed tablets,  and  so  forth — which 

,  1  ,  •  11      FIG.  12.  CUP-BEARER 

together   enable  us   m  some  small  presco  from  knossos 
measure  to  reconstruct  the  picture  of 

the  past.  Of  the  greatest  interest  are,  of  course,  the  wall-  ^'^il'-. 
paintings,  on  which  we  find  represented  various  scenes  of  ' 
the  palace  life,  and  from  which  we  can  get  an  idea  of  what 
the  men  and  women  of  the  time  looked  like.    Our  collec- 
tion includes  reproductions  of  the  most  important  exam- 
ples, all  found  in  the  ruins  of  the  palace  of  Knossos.  The 


22 


FIRST  ROOM 


best  known  of  these  is  the  famous  Cup-bearer  (fig.  12;  East 
Wall,  No.  4),  representing  a  youth  advancing  slowly  in  a 
dignified  posture,  carrying  with  both  hands  a  long,  pointed 
vessel  of  a  shape  often  found  in  Crete  (see  examples  in 
Cases  H,  J,  R,  and  U).  His  skin  is  painted  brown,  accord- 
ing to  a  regular  convention,  also  in  vogue  in  Egypt,  which 
depicted  men  brown  and  women  white.  Traces  of  another 
figure  show  that  this  is  only  one  of  a  procession  of  youths. 
When  this  fresco  was  discovered,  it  was  the  first  portrait  of 
a  Minoan  man  that  had  come  to  light.  The  occasion  was 
significant;  for  the  excavators  could  then  for  the  first  time 
visualize  the  men  whose  history  they  were  rescuing  from 
oblivion.  The  outstanding  facts  which  the  fresco  teaches 
are  that  the  Cretans  were  a  dark-eyed,  dark-haired  race, 
with  regular,  almost  classical  features  and  high  brachyce- 
phalic  skull,  not  unlike  certain  types  still  to  be  found  in 
Crete  today.  In  general  appearance  and  bearing  they  look 
worthy  of  their  great  history.  Other  interesting  features, 
which  this  fresco  shows  (as  do  other  representations),  are 
that  the  Cretan  men  wore  loin-clothes,  often  richly  embroi- 
dered, and  bracelets,  and  let  their  hair  grow  long. 

Nos.  39  and  34  (South  and  West  Walls)  are  portions  of 
a  similar  procession,  consisting  originally  of  a  series  of  life- 
size  human  figures,  both  male  and  female.  Of  the  greater 
part  of  these  only  the  feet  and  the  lower  part  of  the  dress 
remain;  but  two  figures  of  youths  lacking  only  the  head 
and  shoulders,  were  recovered,  and  it  is  these,  together  with 
a  reconstructed  third  figure,  that  are  shown  in  No.  39.  No. 
34  gives  us  valuable  evidence  regarding  the  costumes  worn 
by  the  ladies  of  Knossos;  for  it  shows  the  lower  part  of  a 
skirt  elaborately  ornamented  with  decorative  borders,  exe- 
cuted in  blue,  red,  yellow,  and  white. 

A  fresco  of  great  interest  is  one  with  a  scene  from  a 
Minoan  circus  (South  Wall,  No.  40).    It  represents  a 


PREHISTORIC     GREEK     PERIOD  23 

charging  bull — the  popular  animal  of  Crete — about  to  toss 
a  girl  toreador  caught  on  its  horns,  while  a  youth  appears 
to  be  turning  a  somersault  on  its  back,  and  another  girl  is 
standing  behind  with  both  arms  outstretched  (fig.  13). 
What  is  the  meaning  of  this  remarkable  representation? 
Did  Minoan  youths  and  maidens  acquire  sufficient  skill 
in  sports  of  this  kind  to  display  their  accomplishments  to 
their  relatives  without  danger  to  their  lives?  Or  are  these 
toreadors  captives  from  other  lands  about  to  be  devoured 

!imniHtmiiiiiit,.Hit'iittiii,tim.,ni!!iiiiiiir,r,v,.       «  it,,f,.'  v,','f 

mM■v■^u^w,v■v.i'AV,',VAv,^^^'^^Millliliiv,vAvw^^^^^ 

FIG.    13.     SCENE   FROM  A  MINOAN  CIRCUS 
FRESCO   FROM  KNOSSOS 

by  the  Minoan  bull,  and  have  we  here  the  reality  from 
which  the  legend  of  the  Minotaur  arose? 

Two  frescoes  (South  Wall,  Nos.  41,  42),  each  showing 
the  upper  part  of  a  woman,  one  evidently  in  the  act  of 
dancing,  give  a  good  idea  of  what  the  fashionable  ladies 
of  the  period  looked  like.  With  their  piquant  faces,  elabo- 
rate coiffures,  and  clothes  which  resemble  our  twentieth- 
century  fashions,  these  women  present  a  surprisingly  mod- 
ern appearance. 

We  experience  the  same  feeling  of  kinship  as  we  examine 
two  fragments  of  "miniature"  frescoes  representing  assem- 


24  FIRSTROOM 

blies  of  men  and  women  (West  Wall,  Nos.  29  and  30). 
Ladies  of  the  palace,  dressed  in  gaily  colored  clothes  of 
characteristic  Minoan  design,  and  brown-skinned  men  with 
long  black  hair  have  come  together  in  large  numbers  to 
attend  some  religious  festival  or  show.  The  women  are 
represented  as  sitting  together,  engaged  in  animated  talk, 
or  walking  with  arms  raised,  perhaps  in  an  act  of  salutation 
or  performing  a  dance.  On  one  fragment  the  locality  is 
indicated  as  a  shrine;  on  the  other,  as  a  garden. 

A  griffm,  of  a  curious  type,  without  wings  and  with  a 
crest  of  peacock  plumes,  is  an  imposing  decorative  piece 
(North  Wall,  No.  11).  It  was  found  in  the  Throne  Room 
at  Knossos,  being  one  of  two  such  animals  which  flanked 
the  door  leading  into  a  smaller  inner  chamber.  In  each 
the  background  consists  of  a  picturesque  landscape  with  a 
stream  and  flowering  plants. 

The  paintings  on  a  limestone  sarcophagus  found  at  Hagia 
Case  K  Triada  are  of  unusual  interest  (fig.  14;  Case  K).  The 
scenes  have  been  identified  as  representing  funerary  rites. 
On  the  side  which  is  better  preserved  we  see  on  the  extreme 
right  a  figure  closely  swathed,  standing  erect  before  the 
fac^ade  of  a  building — probably  the  figure  of  the  dead  man 
standing  before  his  tomb.  He  is  approached  by  three  cfTer- 
ing-bearers  carrying  a  model  of  a  ship  and  two  calves.  On 
the  left  another  rite  is  taking  place.  A  woman  is  pouring 
a  libation  from  a  pail  into  a  large  vase  between  two  posts, 
surmounted  by  double  axes  and  sacred  birds.  Behind  fol- 
low a  woman  carrying  two  pails,  and  a  lyre-player. 

The  subject  on  the  other  side  also  clearly  refers  to  some 
ritual.  On  the  extreme  right  a  woman  is  standing  before 
an  offering  table,  with  both  arms  extended  as  if  invoking 
a  deity.  Behind  the  table  is  an  altar  on  which  are  placed 
"horns  of  consecration,"  and  a  post,  again  surmounted  by 
double  axes  with  a  sacred  bird.    In  the  center  of  the  scene. 


PREHISTORIC     GREEK     PERIOD  25 

the  sacrifice  is  taking  place.  One  bull  has  already  been 
killed  and  two  deer  are  awaiting  their  turn.  The  rest  of 
the  scene  is  taken  up  by  a  procession.  The  two  ends  of 
the  sarcophagus  are  likewise  decorated.  On  one  is  repre- 
sented a  two-horse  chariot  driven  by  two  women;  on  the 
other  a  chariot  drawn  by  two  griffins  and  driven  by  a 
woman  who  has  beside  her  a  swathed  figure — again  prob- 


FIG.    14.      PAINTED  SARCOPHAGUS   FROM  HAGIA  TRIADA 

ably  the  figure  of  the  dead  man.  The  execution  of  the 
paintings  is  not  very  careful,  and  probably  dates  from  the 
end  of  the  Late  Minoan  11  or  the  beginning  of  the  Late 
Minoan  1 1 1  period. 

The  chief  interest  of  this  sarcophagus  lies  in  the  data 
that  it  furnishes  regarding  Minoan  ritual.  Aegean  religion 
presents  many  problems  which  cannot  yet  be  settled.  It 
is  difficult  enough  to  reconstruct  an  ancient  civilization 
merely  from  such  remains  as  happen  to  have  survived; 
but  to  understand  the  religion  of  a  people  who  lived  three 
or  four  thousand  years  ago  without  the  help  of  literary 


26 


FIRST  ROOM 


testimony  is  well-nigh  impossible.  From  the  evidence  at 
our  disposal,  consisting  either  of  scenes  of  worship  or  of 
religious  objects  in  shrines,  it  seems  certain  that  the  chief 
divinity  was  a  great  nature  goddess.  Of  a  male  divinity 
there  is  little  evidence,  and  if  he  existed  at  all,  he  occupied 
a  secondary  position.  Minoan  worship  appears  to  have 
consisted  largely  in  the  adoration  of  religious  symbols, 
which  were  either  natural  objects,  such  as  stones  and  trees, 
or  artificial,  such  as  pillars,  cones,  the  double  axe,  the  horns 
of  consecration,  and  perhaps  the  cross. 

Besides  figured  scenes,  a  number  of  frescoes  have  been 
recovered  with  ornamental  designs,  evidently  used  as 
decorative  friezes.  We  have  copies  of  two  typical  exam- 
ples, one  showing  a  double  spiral  pattern,  the  other  a  leaf 
design  (North  Wall,  No.  6,  and  East  Wall,  No.  i).  Both 
testify  to  the  fine  decorative  sense  of  the  Cretans. 

Recent  excavations  in  Greece — at  Tiryns,  Thebes,  Or- 
chomenos,  and  elsewhere — have  taught  us  that  the  pal- 
aces of  the  mainland  princes  were  likewise  decorated  with 
gaily  colored  frescoes.  The  art  of  fresco  painting  appears 
to  have  been  brought  from  Crete  to  Greece  in  the  Late 
Minoan  1  period,  and  developed  independently  there  until 
the  break-up  of  the  Minoan  civilization.  One  of  the  finest 
examples  of  the  earlier  (Late  Minoan  1-11)  style  is  a  pro- 
cession of  women,  of  almost  life  size,  found  in  the  "  Palace 
of  Kadmos''  at  Thebes.  A  copy  of  one  of  these  is  in  our 
collection  (West  Wall,  No.  31).  A  woman  is  represented 
as  advancing  slowly,  holding  a  vase  in  one  hand  and  a 
flower  in  the  other.  She  has  the  alertness,  queenly  bear- 
ing, and  modern  appearance  of  dress  and  hair  which  we 
have  noticed  in  her  Cretan  contemporaries.  The  copy 
here  shown  is  a  reconstruction  made  from  a  number  of 
small  pieces  belonging  not  to  one  but  to  several  figures. 

Two  ornamental  friezes  from  the  earlier  palace  of  Tiryns, 


PREHISTORIC     GREEK  PERIOD 


27 


which  belongs  also  to  the  Late  Minoan  I-II  periods,  are 
included  in  our  collection  (West  Wall,  Nos.  18  and  22). 
One  represents  votive  shields  combined  with  rows  of  con- 
tinuous spirals;  the  other  has  a  design  of  interlacing  spirals 
and  "  palmettes "  similar  to  that  on  the  famous  Orchomenos 
ceiling  (see  p.  30).  It  is  interesting  to  compare  in  this 
connection  the  ceiling  from  the  palace  of  Amenhotep  1 1 1 
(a  piece  of  which  is  exhibited  in  the  Egyptian  Department 
of  this  Museum,  Room  VI),  where  the  same  motive  of 
interlacing  spirals  is  em- 
ployed, but  with  the  sub- 
stitution of  bulls'  heads 
for  the  palmettes. 

Frescoes  did  not  form 
the  only  wall  decorations 
of  the  palace  of  Knossos. 
Excavations  have  yielded 
some  valuable  reliefs  of 
colored  limestone,  which 
show  us  what  the  sculp- 
tors of  the  period  could  do.  The  most  important  is  a 
figure  of  a  man  wearing  a  plumed  headdress,  and  restored 
as  holding  a  staff  (North  Wall,  No.  12).  Whom  he  repre- 
sents is  doubtful.  Sir  Arthur  Evans  suggests  that  we  may 
have  here  one  of  the  priest-kings  of  Knossos.  The  model- 
ing, though  incorrect  in  some  details,  shows  great  vigor 
and  direct  observation  of  nature.  The  same  is  true  of  two 
other  fragments  of  male  figures,  one  a  left  arm  holding  a 
pointed  vase,  the  other  a  right  shoulder  and  upper  arm 
(East  Wall,  Nos.  2  and  3).  Pieces  such  as  these  make  us 
wish  the  Cretans  had  also  tried  their  hand  at  statues  in  the 
round,  which — to  judge  from  the  material  recovered — they 
did  not.  Only  statuettes  and  single  heads  of  animals  have 
so  far  been  brought  to  light. 


FIG.    15.     HEAD  OF  A  BULL 
FROM  KNOSSOS 


Sculpture 


28 


FIRST  ROOM 


A  splendid  piece  of  animal  portraiture  is  the  famous 
relief  of  the  head  of  a  bull  (fig.  15;  West  Wall,  No.  32). 
Other  fragments  found  with  it  show  that  originally  it  was 
part  of  a  larger  composition,  either  of  two  such  animals, 
or  of  a  man  fighting  with  a  bull.  Another  interesting 
example  of  animal  sculpture  is  the  marble  head  of  a  lioness 


FIG.    16.     THE   ENTRANCE  TO  THE   FORTRESS  OF  MYCENAE 
SHOWING  THE  LION   RELIEF  IN  POSITION 


(Case  U).  It  was  probably  a  spout  of  a  fountain,  as  is 
shown  by  the  round  hole  for  a  pipe  on  the  neck  and  a  small 
perforation  at  the  mouth. 

In  this  sculptural  section  may  be  included  the  cast  of  the 
famous  Lion  Relief  from  the  Gate  of  Mycenae  (North 
Wall,  No.  15).  The  original  is  still  in  position  and  was 
known  long  before  the  excavations  at  Mycenae  were  begun 
(see  fig.  16).  Its  date  is  a  matter  of  conjecture.  Some 
have  placed  it  as  early  as  the  late  Middle  Minoan  period, 
while  others  believe  it  to  be  considerably  later.    The  com- 


PREHISTORIC     GREEK     PERIOD  29 

position,  which  resembles  a  heraldic  design,  is  familiar  on 
seal-stones  of  the  Late  Minoan  I-II  periods. 

Stone-cutters  of  this  period  gained  also  great  proficiency  Stone 
in  making  furniture,  friezes,  vases,  lamps,  weights,  and 
other  objects.    The  most  imposing  example  of  such  work 
in  our  collection  is  the  cast  of  the  famous  throne  of  gypsum, 


FIG.   17.     THE   ENTRANCE  TO  THE   "TREASURY  OF  ATREUS" 
IN   ITS   PRESENT  CONDITION 


popularly  known  as  the  Throne  of  Minos  (Pedestal  P). 
It  is  of  simple,  dignified  design,  with  a  high  back  of  undu- 
lating outline,  and  a  seat  slightly  hollowed  out.  The 
original  is  still  in  position  where  it  was  found  undisturbed 
after  having  been  buried  for  more  than  three  thousand 
years.  It  occupies  the  central  position  in  what  was  per- 
haps a  council-chamber,  and  must  have  served  as  the  seat 
for  the  king  or  the  presiding  officer. 

Architectural  reliefs  were  popular  both  in  Crete  and  on 
the  mainland.    Our  collection  includes  reproductions  of 


30  FIRSTROOM 

examples  from  the  palace  of  Knossos,  the  "Treasury  of 
Atreus"  at  Mycenae  (South  Wall,  Nos.  35  and  36),  and  the 
"Treasury  of  Minyas"  at  Orchomenos  (West  Wall,  No. 
28).  They  show  eflfective  designs  of  spirals,  palmettes, 
rosettes,  and  disks.  From  this  same  "  Treasury  of  Atreus " 
(in  reality  a  large  beehive  tomb)  come  the  two  splendid 
half-columns  which  flanked  the  entrance  (West  Wall,  Nos. 
26  and  27;  see  fig.  17).  It  will  be  observed  that  they  are 
wider  at  the  top  than  at  the  bottom.  This  is  one  of  the 
characteristics  of  Minoan  columns,  and  distinguishes  them 
both  from  the  classical  Greek  and  from  modern  examples. 
The  origin  must  be  looked  for  in  wooden  architecture, 
where  wooden  poles  would  be  made  smaller  at  the  bottom 
for  insertion  in  the  ground. 

Stone  vases  were  among  the  finest  products  of  the 
Minoan  stone-cutters  (fig.  18).  An  impressive  piece  is  a 
massive  stone  amphora  from  Knossos  with  three  upright 
handles  and  a  decoration  of  spiral  bands  (Pedestal  A).  It 
is  about  2']%.  inches  high,  and  the  original  is  so  heavy  that 
it  required  eleven  men  to  carry  it.  Smaller  stone  vases, 
lamps,  and  shells  are  shown  in  Cases  R  and  U.  The  orig- 
inals are  of  variegated  marbles,  alabaster,  and  steatite. 
Both  in  form  and  in  finish  of  workmanship  they  can  be 
regarded  as  masterpieces  of  their  kind.  Especially  note- 
worthy are  the  weight  of  purple  limestone  decorated  with 
an  octopus  on  each  side,  the  standing  lamp  with  lotos 
ornamentation,  and  a  steatite  casket  from  Mycenae  with 
marine  designs. 

Pottery         The  pottery  of  this  epoch  reflects  the  spirit  of  the  times. 

In  technique  it  remained  the  same  as  that  of  the  Late 
Minoan  I  period,  but  the  designs  developed  from  pure 
naturalism  into  conventional  naturalism.  The  surface  of 
the  vase  is  generally  covered  with  elaborate  designs  in  a 
highly  decorative,  architectonic  style.    Vases  of  large 


PREHISTORIC     GREEK     PERIOD  3I 

dimensions  are  common,  and  these  indeed  show  the  style 
to  greatest  effect.  Superadded  white  is  no  longer  used. 
The  Cretan  pottery  of  this  time  is  as  yet  not  well  repre- 
sented in  our  collection.  We  possess  so  far  only  a  few 
original  fragments  (Case  B);  but  three  splendid  reproduc- 
tions of  vases  from  Kakovatos  in  Greece  (Pedestal  V)  illus- 
trate this  style,  or  rather  the  transition  style  between  Late 
Minoan  1  and  11,  on  the  mainland. 


One  of  the  surprises  that  awaited  the  explorers  in  Crete  '"^.'^"^ 

^  ^  Tablets 

was  the  discovery  of  a  more  or  less  developed  system  of  Case  R 
writing.  We  have  already  referred  to  the  pictographic 
form  in  vogue  during  the  earlier  periods.  Among  the 
ruins  of  the  second  palace  of  Knossos,  as  well  as  at  Phaistos 
and  elsewhere,  have  been  found  thousands  of  clay  tablets 
inscribed  with  a  linear  script.  Our  collection  includes 
copies  of  seventeen  of  these  (Case  R).  The  script  appears 
to  be  syllabic  and  perhaps  partly  alphabetic.  Unfortu- 
nately all  efforts  at  their  decipherment  have  as  yet  been 
unsuccessful.  We  are  still  awaiting  the  discovery  of  a 
bilingual  inscription  such  as  has  supplied  the  key  for  read- 


32  FIRSTROOM 

ing  Egyptian  hieroglyphs,  and  more  recently  the  Lydian 
language.  As  far  as  can  now  be  ascertained,  most  of  the 
tablets  appear  to  be  business  records. 

Late  Minoan  ill  (1350-1100  b.c.) 

The  end  of  the  great  palace  period  was  marked  by  a  sud- 
den catastrophe.  The  palace  of  Knossos  was  destroyed 
and  the  island  overrun  by  conquerors.  Who  these  con- 
querors were  there  can  be  little  doubt.  All  the  evidence 
at  our  disposal  points  to  an  invasion  from  the  Greek  main- 
land, where  the  princes  of  the  land  had  apparently  been 
growing  more  and  more  powerful,  and  finally  resolved  to 
overthrow  Cretan  suzerainty.  Their  success  was  com- 
plete. The  power  of  Crete  was  broken,  never  to  revive 
again;  there  are  indeed  signs  of  a  partial  reoccupation  of 
Knossos  and  other  sites,  but  this  appears  to  have  been  of 
little  consequence.  The  sceptre  now  passed  to  Greece, 
and  the  kings  of  Mycenae  and  Argos  succeeded  to  the 
power  of  king  Minos. 

The  nationality  of  the  conquerors  is  of  course  of  great 
interest.  As  far  as  we  can  tell,  they  appear  to  have  been 
descendants  of  the  Minoans,  who  settled  in  and  perhaps 
conquered  Greece  at  the  height  of  Cretan  power,  with  an 
admixture  of  "Achaeans,"  who  appear  to  have  invaded 
Southern  Greece  from  the  North,  and  of  "  Pelasgians,"  the 
original  inhabitants  of  the  land.  The  Achaeans,  if  such 
they  were,  did  not  long  remain  the  only  northern  new- 
comers in  Greece.  The  whole  Late  Minoan  111  period  is 
marked  by  constant  migrations,  unceasing  warfare,  expul- 
sions, and  search  for  new  homes.  Not  only  did  one  tribe 
after  another  come  down  from  the  North  into  Southern 
Greece,  but  the  migration  both  of  conquerors  and  con- 
quered extended  from  east  to  west,  until  the  islands  and 
the  coast  of  Asia  Minor  were  colonized  with  old  Minoan 


PREHISTORIC     GREEK     PERIOD  33 

and  new  Indo-European  stock.  The  isles  were  restless, 
"disturbed  among  themselves,"  is  the  comment  of  the 
Egyptian  chroniclers  on  the  situation.  In  Greek  history 
these  migrations  are  broadly  referred  to  as  the  Aeolian 
(Achaean),  the  Ionian,  and  the  Dorian  invasions. 

It  is  this  period,  when 
Crete  had  fallen  and  the 
Greek  princes  had  risen 
to  power,  that  must  be 
identified  with  the  heroic 
age  of  Greece,  pictured  to 
us  in  the  songs  of  Homer. 
For  though  these  songs 
were  written  considera- 
bly later  (probably  in  the 
ninth  century  B.C.),  the 
events  described  clearly 
go  back  to  earlier  times; 
and  the  discrepancies  in 
the  Homeric  poems 
which  have  given  rise 
to  so  many  discussions 
must  be  traced  to  this 
circumstance.  Under  the 
unsettled  conditions  of 
this  age  the  arts  could 
no  longer  flourish.  We 
are  not  surprised  to  find  everywhere  a  decline  in  artistic 
perceptions.  The  general  style  of  the  preceding  period 
was  retained,  but  it  had  no  longer  any  life.  That  the 
productions  were  as  good  even  as  they  are  is  due  rather  to 
the  greatness  of  the  preceding  epoch  than  to  the  merit  of 
the  artists  of  the  time. 

The  best  examples  of  fresco  painting  of  this  period  are 


FIG.  19.  WOMAN  CARRYING  A  CASKET 
FRESCO  FROM  TIRYNS 


34  FIRSTROOM 

those  recently  discovered  at  Tiryns.  They  formed  part 
of  the  later  palace  which  succeeded  that  from  which  the 
ornamental  friezes  described  on  p.  27  were  derived.  The 
paintings  are  in  a  very  fragmentary  condition,  but  several 
scenes  have  been  successfully  pieced  together.  Among 
these  the  most  remarkable  is  an  almost  life-size  figure  of 
a  woman  carrying  a  casket  with  both  hands.  The  copy 
here  shown  (fig.  19;  West  Wall,  No.  21)  is  a  reconstruction 
made  from  a  number  of  fragments  belonging  to  a  series  of 
similar  figures.  The  subject,  the  style,  and  the  bearing 
of  the  figure  are  clearly  derived  from  Knossian  prototypes, 
and  the  dress,  with  its  tight-fitting  jacket,  open  front, 
and  flounced  skirt,  is  closely  parallel  to  that  worn,  for 
instance,  by  the  attendant  of  the  famous  Snake-Goddess. 
Only  the  arrangement  of  the  hair  has  no  analogies  in 
Cretan  art. 

A  large  hunting-scene,  found  during  the  same  excava- 
tions, is  one  of  the  most  picturesque  compositions  pre- 
served to  us  from  Minoan  times.  In  it  hounds  attacking 
boars,  young  huntsmen  with  spears,  hounds  held  in  leash 
by  servants,  and  chariots  containing  the  guests  of  the  hunt 
are  vividly  portrayed.  The  original  painting  appears  to 
have  been  of  considerable  length,  the  same  incidents  being 
reproduced  almost  identically  several  times.  The  copies 
in  our  collection  (West  Wall,  Nos.  19,  20,  23,  25)  show  a 
boar  running  at  full  speed,  pursued  by  a  pack  of  hounds 
(fig.  20),  two  huntsmen  with  spears  and  hounds,  and  two 
ladies  ^  driving  to  the  hunt  through  the  woods.  It  should 
be  observed  that  the  costumes  are  characteristic  of  the 
Greek  mainland  and  are  different  from  those  of  Crete. 

Mt  has  been  suggested  that,  though  the  skin  of  these  two  figures  is 
painted  white,  they  are  not  women  but  princes  who  have  led  the  sheltered 
life,  on  the  analogy  of  Egyptian  convention  (see  H.  R.  Hall,  Aegean 
Archaeology,  p.  190). 


PREHISTORIC     GREEK  PERIOD 


35 


The  fresco  representing  a  bull-grappling  scene  belongs 
to  this  same  series,  though  found  by  Schliemann  before 
the  recent  excavations  (West  Wall,  No.  24).  In  composi- 
tion, execution,  and  even  in  costume,  this  is  clearly  a  copy 
of  Cretan  prototypes. 

A  comparison  between  these  frescoes  and  those  of  the 
Late  Minoan  I  and  II  periods  shows  a  deterioration  of 
style.  This,  however,  is  not  nearly  so  marked  as  that 
observable  on  the  pottery  of  the  period,  which  shows  a 
great  poverty  of  invention. 
The  same  motives  were  re- 
peated again  and  again, 
becoming  more  and  more 
conventional  and  stereo- 
typed, while  the  shapes 
also  show  little  variety. 
Our  collection  includes  a 
number  of  original  exam- 
ples from  widely  different 
sites,  such  as  Crete,  Rhodes, 

Cyprus,  and  Mycenae  (Cases  B  and  F) ;  for  this  decadent 
style  was  diflfused  over  the  whole  Aegean  world.  Though 
the  decoration  is  for  the  most  part  uninteresting  and  life- 
less, it  should  be  noted  that  technically  these  vases  stand 
very  high.  The  forms  are  finely  worked,  the  clay  is  well 
sifted  and  hard,  the  glaze  beautifully  lustrous. 

On  Pedestal  G  is  a  reproduction  of  the  famous  Warrior 
Vase  found  by  Schliemann  in  Mycenae  in  1876.  It  is  of 
an  entirely  different  character  from  the  vases  just  dis- 
cussed, and  represents  the  latest  stage  of  Minoan  pottery 
as  evolved  on  the  Greek  mainland.  Instead  of  the  usual 
sea  and  vegetable  motives,  human  figures  are  used  for  the 
decoration.  On  one  side  are  depicted  six  warriors  setting 
out  for  battle,  with  a  woman  looking  after  them  in  an 


FIG.  20 


HOUNDS  ATTACKING  A 
BOAR 

FRESCO   FROM  TIRYNS 


Pottery 


Cases 
B  and  F 


36  FIRSTROOM 

attitude  of  lamentation.  On  the  other  side  are  five  warriors 
advancing  with  spears  ready  for  the  throw.  Artistically 
these  figures  are  on  a  low  level;  but  the  introduction  of  hu- 
man subjects  on  pottery  was  an  important  innovation,  which 
was  to  have  a  long  subsequent  history  in  Greek  ceramics. 

Before  passing  to  the  next  section  it  may  be  well  to  sum 
up  in  a  few  words  the  characteristics  of  Minoan  art  as  a 
whole,  and  to  compare  it  with  the  two  other  arts  with 
which  we  inevitably  connect  it  in  our  minds — contempo- 
rary Egyptian  and  classical  Greek.  What  strikes  us  per- 
haps most  after  examining  the  gaily  colored  frescoes,  the 
magnificent  vases,  the  gold  and  silver  cups,  the  delicate 
sealings  and  beautifully  wrought  rings  described  in  this 
chapter,  is  the  exuberance  of  spirit  shown  in  all  these 
decorations.  There  is  a  restlessness,  a  joy  of  life,  a  con- 
tinual reaching  out  toward  new  problems  which  are  the 
manifestations  of  a  quick  and  agile  mind.  This  becomes 
specially  noticeable  when  we  compare  Minoan  products 
with  those  of  Egypt.  That  Crete  owed  much  to  Egypt 
there  can  be  no  doubt.  She  received  from  her  the  impulse 
for  many  of  her  arts,  conspicuously  those  of  fresco  paint- 
ing, faience,  and  the  fashioning  of  stone  vases.  Many  of 
her  conventions  in  painting,  a  number  of  her  ornamental 
designs  were  clearly  borrowed  from  Egyptian  prototypes. 
The  close  intercourse  between  the  two  is  further  shown  by 
the  intimate  connection  between  the  naturalistic  style  of 
the  Late  Minoan  I  period  and  that  of  Tell  el  Amarna  of 
the  XVI II  dynasty,  though  here  Egypt  rather  than  Crete 
was  probably  the  debtor.  Nevertheless,  the  difference  is 
unmistakable.  While  Egyptian  art  impresses  us  with  a 
feeling  of  formality,  with  a  sense  of  quiet  and  balance — 
which  is  rarely  absent  even  in  its  most  naturalistic  and 
delicate  products — Cretan  art  is  full  of  impetuous  move- 
ment and  animation. 


PREHISTORIC     GREEK     PERIOD  37 

If  we  compare  the  Minoans  with  the  classical  Greeks,  we 
also  find  a  marked  diflference.  Both  have  indeed  the  buoy- 
ancy of  spirit  which  differentiates  them  from  their  Orien- 
tal neighbors;  but  their  ideals  and  methods  of  work  were 
entirely  different.  The  Greek  artist  arrived  at  perfection 
by  adopting  a  number  of  types  and  solving  one  by  one  the 
problems  presented  by  these.  The  Minoan  artist  was 
incapable  of  such  concentration.  He  was  so  eager  to 
fashion  what  his  versatile  imagination  suggested  to  him, 
that  he  cared  less  for  accurate  rendering  than  for  con- 
stantly attempting  new  subjects.  The  result  was  that  he 
never  arrived  at  perfection,  but  in  his  works  are  a  fresh- 
ness and  a  vitality  that  have  rarely  been  equaled  in  any 
subsequent  art. 


SECOND  ROOM 


EARLY  GREEK  PERIOD 

GEOMETRIC  PERIOD 

ABOUT    I  100-700  B.C. 

With  the  end  of  the  Minoan  Age  we  begin  a  new 
era  in  Greek  history.  The  old  Minoan  stock  had  grad- 
ually become  submerged  by  the  Indo-European  invaders 
from  the  North,  and  a  new  race  of  mixed  blood,  combin- 
ing the  old  and  the  new,  was  being  formed.  The  north- 
ern invaders,  though  less  civilized  than  the  people  they 
conquered,  contributed  in  no  small  degree  to  the  future 
culture  of  Greece.  They  brought  with  them  a  new  re- 
ligion, a  new  language,  and,  after  a  while,  the  use  of  iron. 
And  more  important  still,  they  instilled  an  energizing 
force  into  a  civilization  which  was  practically  worn  out. 
But  these  things  alone,  we  may  safely  assert,  would  never 
have  produced  the  phenomenon  of  the  Hellenic  civiliza- 
tion, as  we  shall  see  it  in  the  sixth  to  fourth  centuries  B.C. 
This  would  not  have  been  possible  unless  these  North- 
erners had  amalgamated  with  a  highly  civilized  race, 
whose  art  instinct  remained  as  a  dominant  factor  in  the 
newly  formed  Hellenic  people. 

The  period  which  we  have  now  under  consideration  is 

38 


EARLY     GREEK     PERIOD  39 

often  referred  to  as  the  dark  ages  of  Greece.  Compared 
with  the  splendor  of  the  past  and  of  the  future,  the  cen- 
turies between  iioo  and  700  B.C.  certainly  represent  an 
epoch  of  eclipse.  We  know  little  of  their  history,  and  the 
finds  have  been  comparatively  scanty.  But  inasmuch  as 
this  is  the  time  of  Greece  in  the  making,  it  deserves  our 
serious  attention. 

The  outstanding  features  in  the  history  of  this  epoch 
are  the  formation  of  a  number  of  city-states,  and  the  foun- 
dation by  these  states  of  colonies  not  only  all  over  the 
Aegean,  but  far  into  the  West,  North,  and  South.  These 
two  facts  determined  the  whole  future  history  of  Greece. 
Greece  was  never  one  country,  as  we  understand  the  word, 
but  rather  a  group  of  separate  city-states,  each  with  in- 
tense local  patriotism,  but  with  little  feeling  for  the  nation 
as  a  whole.  National  feeling  was  indeed  fostered  by  the 
possession  of  a  common  language  and  religion,  and  by  the 
institution  of  common  oracles  and  athletic  games,  but  it 
was  never  strong  or  spontaneous,  and  could  not  be  de- 
pended upon  in  a  crisis;  while  loyalty  to  his  city-state  was 
one  of  the  guiding  principles  in  the  life  of  every  Greek. 
This  division  and  this  unity  are  reflected  in  Greek  art. 
There  are  certain  common  characteristics  which  Greek 
monuments  share,  whether  produced  in  Athens,  or 
Sparta,  or  Miletos,  or  Syracuse;  but  there  are  also  marked 
differences,  due  to  the  establishment  of  separate  local 
schools. 

Even  at  this  early  period,  when  art  was  at  a  low  ebb 
and  had  not  yet  attained  its  individuality,  this  combina- 
tion of  uniformity  and  diversity  was  already  apparent. 
The  Late  Minoan  or  Mycenaean  style  of  pottery  was  Pottery 
everywhere  followed  by  the  geometric,  in  which  the  de- 
signs consist  of  systematized  geometric  patterns;  but  ac- 
cording to  the  locality  in  which  the  vases  are  found  they 


40  SECOND  ROOM 

differ  both  in  technique  and  in  ornamentation.  The  style 
reached  its  highest  development  in  Attica,  and  it  is  from 
this  region  that  most  of  the  examples  in  our  collection  are 
derived. 

These  consist  of  a  number  of  specimens  of  average  size 
(Case  M)  and  two  colossal  vases  of  the  type  used  as  grave 
monuments  (figs.  21  and  22;  in  Cases  G  and  L).  The 
latter  are  remarkable  feats  in  the  art  of  pottery  and  pre- 
suppose extensive  experience;  for  to  throw  pieces  of  such 
size  on  the  wheel,  even  in  sections,  and  to  fire  them  suc- 
cessfully can  have  been  no  easy  task.  The  technique  of 
these  geometric  vases  is  similar  to  that  of  Minoan  times, 
the  decorations  being  executed  in  lustrous  brown  glaze  on 
the  light  clay;  but  the  style  of  the  ornamentation  presents 
a  marked  contrast.  Instead  of  the  free,  curvilinear  de- 
signs of  the  Minoans,  we  have  a  series  of  geometric  motives 
used  over  and  over  again  in  different  combinations;  and 
instead  of  the  naturalistic  representations  of  plant  and 
marine  life,  we  often  have  figured  scenes,  in  which  the  men 
and  animals  are  treated  with  a  view  more  to  systematizing 
them  into  ornaments  than  to  representing  them  as  they 
are  in  nature  (see  e.g.  head-band,  p.  38).  The  most  in- 
teresting of  these  scenes  appear  on  the  two  colossal  am- 
phorai.  On  each  of  these  is  depicted  a  funeral  with  the 
deceased  laid  out  on  a  bier,  surrounded  by  his  wife  and 
children  and  by  mourning  women  tearing  their  hair.  War- 
riors on  foot  and  mounted  on  chariots,  often  carrying 
large  shields,  form  the  subject  of  other  friezes  of  these 
vases,  as  also  on  two  smaller  amphorai. 

The  representations  on  these  vases  are  very  crude.  There 
is  no  attempt  to  study  the  human  figure  as  it  is,  or  to 
solve  the  problems  presented  by  bodies  in  motion.  There 
is  no  knowledge  of  perspective,  and  this  leads  to  surprising 
results;  for  the  artist,  even  when  representing  his  figures 


FIG.   21.     COLOSSAL   FUNERARY  VASE 


42  SECONDROOM 

in  profile,  is  naively  anxious  to  depict  what  he  could  not 
really  see.  All  the  legs  of  teams  of  horses  are  conscien- 
tiously drawn  side  by  side,  and  their  heads  one  below  the 
other;  the  wheels  of  chariots  both  appear  on  the  same  side; 
the  farther  leg  of  a  seated  human  being  is  drawn  above 
the  nearer,  so  that  it  seems  to  grow  out  of  the  waist;  and 
so  on.  But  we  must  not  judge  these  pictures  by  later 
standards.  We  must  remember  that  the  artist  was  at- 
tempting something  entirely  new  to  his  experience,  and 
that,  with  the  timidity  of  a  beginner,  he  preferred  to  keep 
to  certain  fixed  conventions;  also  that  his  chief  instinct 
was  as  yet  decorative  and  that  he  naturally  treated  his 
human  figures  much  as  he  did  his  other  ornaments,  that  is, 
he  "geometrized"  them  into  a  fixed  scheme.  The  absorb- 
ing interest  of  these  pictures  to  us  is  that  they  stand  at  the 
head  of  a  long  line  of  representations  in  Greek  ceramic  art. 
We  shall  see  how,  during  the  next  periods,  the  Greek  artist 
solved  all  the  problems  which  were  too  much  for  the  maker 
of  our  vases;  and  these  problems  were  then  solved  for  the 
first  time  in  the  history  of  art. 

The  decorative  patterns  which  are  used  on  the  geomet- 
ric vases  in  our  collection  show  the  stock  in  trade  used  by 
the  potter  of  the  period.  They  consist  of  rows  of  meander, 
zigzag  lines,  shaded  triangles,  chequers,  lozenges,  wavy 
lines,  tangent  circles,  wheel  ornaments,  etc.  Some  of 
these  ornaments  have  a  long  history,  being  derived  from 
Minoan  prototypes;  others,  like  the  meander,  were  in- 
vented by  the  geometric  potter  and  have  in  their  turn  a 
subsequent  history,  forming  part  of  the  heritage  taken  up 
by  the  vase-painters  of  the  classical  period. 

In  addition  to  these  Attic  geometric  or  Dipylon  vases 
(as  they  are  sometimes  called,  since  many  have  been  found 
in  the  Dipylon  cemetery  of  Athens),  Case  M  contains  a 
few  specimens  from  other  localities.    Though  the  principle 


EARLY     GREEK     PERIOD  43 

of  geometric  ornamentation  is  the  same,  certain  local 
peculiarities  are  apparent. 

For  another  type  of  geometric  pottery  well  represented 
in  this  Museum,  though  not  included  in  this  collection,  the 
reader  is  referred  to  the 
Cypriote  geometric  vases 
of  the  Cesnola  Collection, 
now  located  in  Gallery 

With  regard  to  the  dat- 
ing of  geometric  vases, 
we  have  only  the  evidence 
that  they  are  found  after 
the  latest  Minoan  ware 
and  before  the  styles 
which  make  their  appear- 
ance in  the  seventh  cen- 
tury B.C.  The  two  mag- 
nificent amphorai,  with 
their  elaborate  figured 
scenes,  evidently  form  the 
climax  of  the  geometric 
style,  and  should  therefore  be  dated  toward  the  end  of  it, 
that  is,  in  the  eighth  century  B.C. 

This  epoch  produced  no  monumental  architecture  or 
sculpture.  The  primitive  artists  of  the  period  confined 
their  work  to  a  more  modest  field.  Besides  pottery,  only 
small  bronze  or  terracotta  statuettes,  some  decorative  work  Bronzes 
in  bronze,  and  engraved  seals  of  soft  stone  have  been  found.  ^ 
A  remarkable  statuette  included  in  our  collection,  as  a  loan 
from  J.  P.  Morgan,  shows  what  could  be  done  in  the  line  of 
fashioning  figures  in  the  round  (Case  B).    It  represents  a 

^See  Myres,  Handbook  of  the  Cesnola  Collection,  Nos.  501  IT. 


FIG.  22.     COLOSSAL  FUNERARY 
VASE 


44 


SECOND  ROOM 


group  of  a  Centaur  and  a  man  (fig.  23).  The  proportions 
and  general  style  of  the  figures  are  the  same  as  those  on  the 
Dipylon  vases,  and  we  may  safely  date  it  as  contemporary 
with  them.  Similar  statuettes  have  been  found  at  Olympia 
(see  Furtwangler,  Olympia,  Die  Bronzen,  pis.  XI 11,  XIV); 
some  with  bases,  decorated,  like  Mr.  Morgan's  example, 
with  openwork  and  engraved  decoration  on  the  under  side. 
This  suggests  the  possibility  that  such  statuettes  were  hung 
up  as  votive  offerings  with  the  under 
side  showing. 

A  few  other  bronze  statuettes  of 
this  period,  of  considerably  rougher 
execution,  are  shown  in  Case  A.  In 
the  same  case  are  several  rare  pieces 
of  early  Italic  armor.  They  consist 
of  two  cuirasses  (one,  lent  by  Dr. 
Bashford  Dean,  is  considerably  re- 
stored), a  helmet  (fig.  24),  and  sev- 
eral disks.  The  helmet  and  cuirasses 
are  elaborately  ornamented  with  em- 
bossed designs;  one  of  the  disks,  with 
perforations  of  various  shapes,  was  probably  part  of  a 
leather  breastplate;  while  the  others,  decorated  with  em- 
bossed patterns,  appear  to  have  served  as  shield  bosses. 
All  the  decorations  are  still  of  purely  geometric  character. 

In  Case  D  are  a  number  of  Italic  fibulae  or  safety-pins 
of  various  types.  Such  safety-pins  became  exceedingly 
popular  in  the  Late  Bronze  and  Early  Iron  Ages,  when  they 
were  employed,  instead  of  buttons,  for  fastening  dresses. 
Some  types,  like  the  fiddle-bow  and  semicircular,  belong 
exclusively  to  the  Bronze  Age.  Others,  such  as  the  boat- 
shaped  and  serpentine,  began  in  the  Bronze  or  the  Early 
Iron  Ages,  but  continued  down  to  the  fifth  and  even  fourth 
centuries  B.C.    The  earlier  examples  have  a  short  foot, 


FIG.  23.  BRONZE 
GROUP.  A  CENTAUR 
AND  A  MAN 


EARLY     GREEK     PERIOD  45 

which  gradually  becomes  elongated  and  is  then  provided 
with  a  knob  at  the  end.  The  fact  that  these  fibulae  can 
be  more  or  less  accurately  dated  makes  them  valuable 
chronological  data  for  the  objects  found  with  them  in 
tombs.  Both  the  earlier  and  later  specimens  have  been 
placed  together  here  to  show  the  development  of  the  types. 

Glass  beads ^  have  been  a  popular  product  from  early  Glass 
Egyptian  to  modern  times.  A  selection  ranging  in  date 
from  about  1000  to  600  B.C. 
is  exhibited  in  the  same  case 
with  the  fibulae.  They  are 
of  various  types,  the  common- 
est being  the  plain  and  the 
"eyed"  varieties.  In  the  lat- 
ter, circles  of  yellow,  blue, 
and  white  glass  are  inserted 
in  the  beads  by  a  method 
similar  to  that  of  the  threads 

in  the  glass  vases  in  Room     p,g.  24.    bronze  helmet 
III,  Case  T  (see  p.  84).   Some  italic 
of  the  beads  have  patterns  ar- 
ranged in  spiral  or  zigzag  lines  instead  of  in  circles.  The 
majority  of  the  pieces  here  shown  form  part  of  the  Greau 
Collection  of  Ancient  Glass  lent  by  J.  Pierpont  Morgan. 

PERIOD  OF  ORIENTALIZING  INFLUENCE 

700-550  B.C. 

In  the  seventh  century  B.C.  a  great  change  came  over 
Greek  art.  The  geometric  style  was  supplanted  every- 
where by  new  conceptions,  in  which  Oriental  influence 
played  an  important  part.  This  change  came  as  a  natu- 
ral consequence  of  the  conditions  of  the  time.    Greek  navi- 

^The  classification  of  glass  beads  given  here  and  in  the  later  sections 
is  that  of  Dr.  G.  Eisen. 


46  SECOND  ROOM 

gation  and  commerce  had  received  a  fresh  impetus  by  the 
formation  of  Greek  colonies  in  near  and  distant  parts,  and 
thereby  the  wealth  of  the  cities  had  considerably  increased. 
The  Greeks  had  not  only  grown  accustomed  to  seeing 
Oriental  goods  brought  to  them  by  Phoenician  traders,  but 
the  colonists  who  had  settled  on  the  coasts  of  Asia  Minor 
naturally  felt  the  contact  of  their  Oriental  neighbors. 
Moreover,  the  monotony  and  conventionalism  of  the  geo- 
metric style  had  begun  to  pall  on  a  people  gradually  awak- 
ening to  new  ideas  and  energies;  so  that  the  time  was  ripe 
for  the  inroads  of  Eastern  civilization.  It  would  not  have 
been  surprising  under  these  circumstances  if  Greek  art  had 
definitely  assumed  and  retained  an  Oriental  character. 
That  it  did  not,  shows  the  vitality  of  the  Greek  artistic 
genius  at  the  time  even  of  its  infancy.  Instead  of  adopt- 
ing Oriental  art  wholesale,  the  Greek  artist  merely  selected 
certain  ideas  and  motives  and  with  their  help  and  under 
their  stimulus  produced  creations  of  his  own. 

In  examining  the  products  of  the  seventh  and  early  sixth 
centuries  B.C.,  we  again  notice  a  generally  uniform  style, 
almost  endlessly  diversified,  however,  according  to  the 
localities  in  which  they  were  produced.  The  chief  impetus 
came  from  Ionia.  As  the  probable  descendants  of  Minoan 
refugees,  the  lonians  appear  to  have  inherited  more  directly 
than  the  other  Greeks  the  spontaneity  and  art  sense  of  their 
ancestors.  They  were  also  closest  to  the  Eastern  influence 
which  was  reaching  into  Greece;  so  that  as  transmitters  of 
the  new  stimulus,  they  may  be  regarded  as  pioneers.  But 
to  the  people  of  continental  Greece  fell  an  equally  impor- 
tant task.  Inclining  as  they  did,  both  by  temperament 
and  training,  toward  order  and  system,  it  was  they  who 
particularly  worked  up  these  new  ideas  into  a  new  scheme 
and  gradually  evolved  step  by  step  what  was  to  become 
the  classical  Greek  style. 


EARLY     GREEK     PERIOD  47 

The  seventh  and  early  sixth  centuries,  then,  are  a  period 
of  general  awakening  in  the  Hellenic  world.  They  mark 
the  beginning  of  many  cardinal  elements  of  their  civiliza- 
tion. Coinage  was  introduced  from  Lydia  and  revolution- 
ized industrial  life.  Monumental  architecture  and  monu- 
mental sculpture  now  made  their 


FIG.   25.     CORINTHIAN  POTTERY 


mian,  Pythian,  and  Nemean  games,  the  other  great  Pan- 
hellenic  festivals  that  played  such  an  important  part  in 
Greek  life,  were  all  established  in  the  early  part  of  the 
sixth  century.  The  alphabet  had  been  introduced  by  the 
Phoenicians  in  the  eighth  century,  and  by  the  seventh  the 
art  of  writing  was  in  general  use. 

In  our  collection  the  architecture  and  sculpture  of  this 
period,  of  which  few  specimens  have  survived,  are  not 
represented.  The  sculpture,  however,  can  be  studied  in 
the  Cypriote  statues  of  the  Cesnola  Collection,  Nos.  looi  fT. 
The  pottery,  bronze,  and  terracotta  work  displayed  in  this 
room  will  give  us  a  good  general  idea  of  the  tendencies  of 
the  time. 

In  examining  first  the  pottery,  we  notice  immediately 


48  SECOND  ROOM 

the  strong  individuality  of  each  fabric.  The  artists  of 
every  locaHty,  though  working  out  similar  problems  under 
similar  influences,  did  so  quite  independently.  Take  Corinth 
first,  since  Corinthian  vases  are  the  most  numerous  in  our 
collection  (fig.  25;  Case  K).  The  Oriental  element  is  here 
especially  pronounced,  a  fact  due  probably  to  an  early 
Phoenician  settlement  in  this  region.  Not  only  are  such 
animals  as  lions  and  panthers,  which  are  not  native  in 
Greece,  depicted  with  great  frequency,  but  fantastic  crea- 
tures, such  as  winged  monsters,  sphinxes.  Sirens,  clearly  of 
Eastern  origin,  are  very  popular.  These  are  arranged  in 
friezes  after  the  pattern  of  Assyrian  art.  The  lotos-orna- 
ment and  the  palmette,  the  two  chief  floral  decorations  of 
Corinthian  vases,  are  also  borrowed  directly  from  the 
Orient.  But  besides  these  Eastern  elements  there  are 
others  which  are  distinctly  Greek.  Here  and  there,  though 
not  as  yet  very  commonly,  we  fmd  introduced  warriors 
marching  with  their  shields,  riders  on  horseback,  or  other 
human  figures,  and  also  stories  of  Greek  mythology — an 
entirely  new  departure  and  destined  to  play  an  important 
part  in  Greek  ceramic  art.  It  was,  of  course,  a  natural 
procedure.  The  imagination  of  the  Greeks  had  for  some 
time  been  busy  producing  these  legends,  which  meant  to 
them  much  more  than  mere  fairy  stories;  they  were  in  a 
sense  their  history,  their  religion,  and  their  genealogy. 
The  scenes  included  among  our  vases  are  a  representation 
of  Odysseus  and  his  companions  blinding  Polyphemus, 
Herakles  pursuing  Nessos,  and  Satyrs  dancing.  A  poet  on 
his  death-bed  (for  that  is  apparently  the  subject  represented 
on  a  plate)  is  also  a  remarkable  representation. 

These  paintings  are  executed  in  dark  paint  on  the  light 
clay  of  the  vases  with  frequent  addition  of  red.  Incised 
lines  are  used  to  indicate  folds,  muscles,  or  other  details. 
The  majority  of  the  vases  are  small,  the  aryballos  and 


EARLY     GREEK  PERIOD 


49 


alabastron  being  especially  popular  shapes;  but  larger 
pieces,  such  as  amphorai,  kraters,  water-jars,  and  plates, 
also  occur. 

That  the  city  of  Corinth  was  the  great  center  for  the  manu- 
facture of  this  pottery  is 
shown  by  the  large  quan- 
tity of  vases  of  this  style 
found  in  that  city,  and  by 
the  inscriptions  in  the  Co- 
rinthian alphabet  which 
often  occur  on  them.^ 
Moreover,  the  seventh 
century,  during  which  this 
pottery  was  produced  in 
such  great  numbers,  is 
coincident  with  the  rule 
of  the  great  tyrants  of 
Corinth,  under  whom  the 
city  attained  her  commer- 
cial supremacy. 

The  popularity  of  this 
Corinthian  pottery  can  be 
seen  by  its  wide  distribu- 
tion. It  has  been  found  in 
Greece,  Italy,  the  Greek 
Islands,  Asia  Minor, 
Egypt,  and  the  Crimea.  It 
was  also  occasionally  imi- 
tated, especially  in  Italy,  where  an  inferior,  so-called  Italo- 
Corinthian  ware  was  produced.  Several  examples  of  this 
will  be  found  in  Case  A. 

The  Athenian  ware  of  this  period  is  represented  in  our 
collection  by  two  excellent  examples.    One  is  a  magnifi- 

^  There  are  no  examples  of  such  inscriptions  in  our  collection. 


FIG.  26.  EARLY  ATHENIAN  AMPHORA 
COMBAT  OF  HERAKLES 
AND  NESSOS 


Vases — 
Athenian 


50  SECOND  ROOM 

cent  amphora  (fig.  26),  dating  from  the  first  part  of  the 
seventh  century  B.C.,  of  a  ware  often  referred  to  as  Proto- 
Case  E       Attic  (Case  E).    It  is  decorated  with  various  ornamental 
designs  and  with  three  figured  scenes  on  its  front  side:  a 
Hon  devouring  a  deer,  two  grazing  animals,  and  the  con- 
test of  Herakles  and  the  Centaur  Nessos.    In  the  last 
scene,  which  occupies  a  large  part  of  the  body  of  the  vase, 
there  are  introduced,  besides  Herakles  and  Nessos,  a  four- 
horse  chariot  with  a  woman,  probably  Deianeira,  sitting 
in  it,  and  a  man  running  at  full  speed, 
perhaps  a  spectator.    A  comparison 
between  these  scenes  and  those  on  the 
geometric  ware  is  very  instructive.    I n 
spite  of  its  crudity  and  the  almost 
childish  idea  of  perspective  (notice 
especially  the  way  in  which  the  heads 
of  the  four  horses  are  painted  one  be- 
low the  other),  there  are  a  force  and 
a  vitality  not  to  be  found  in  the  Dipy- 
lon  representations.    The  determined 
attack  of  Herakles  and  the  beseeching 
FIG  27  "phaleron"   attitude  of  the  Centaur  are  convincing- 
juG  ly  represented,  and  are  well  contrasted 

with  the  quiet  figure  seated  in  the 
chariot.  The  scene  of  the  lion  and  the  deer  on  the  neck  of 
the  vase  is  also  full  of  spirit,  the  deer  being  especially  lifelike 
in  attitude  and  rendering.  It  is  noteworthy  that  Oriental 
influence  is  not  nearly  so  apparent  in  this  vase  as  on  the 
Corinthian  ware;  but  on  the  other  hand,  there  are  inter- 
esting remnants  both  of  Minoan  and  of  geometric  art, 
which  show  the  manifold  sources  of  the  artist's  inspiration. 
The  other  Athenian  vase  of  this  period  is  a  small  jug  of 
Case  B  the  "Phaleron"  class  (fig.  27;  Case  B),  so  called  because 
the  majority  of  the  pieces  of  this  type  were  found  in  that 


EARLY     GREEK  PERIOD 


51 


FIG.  28.     LYDIAN  VASE 


locality.    It  is  clearly  developed  from  the  Attic  geometric 
ware,  retaining  the  old  technique,  but  showing  an  admix- 
ture of  Oriental  elements  in  the 
decoration. 

Another  interesting  class  of 
pottery  belonging  to  this  epoch 
(probably  about  600  B.C.)  is 
the  Lydian.  It  is  represented 
in  our  collection  by  over  forty 
examples  (Cases  F,  H,  Pedestals 
C,  J;  see  figs.  28-30).  They 
show  a  great  variety  of  tech- 
nique. Some  are  covered  en- 
tirely with  a  black  color,  on 
which  decorations  are  occasion- 
ally added  in  white.    In  others 

the  body  color  is  white,  while  the  ornamentation  is  applied 
in  blackish  brown,  or  blackish  brown  and  red.  In  others, 
again,  the  red  color  of  the  clay  is  retained,  to  which  white 

or  brown  decorations  are 
added.  The  same  re- 
freshing diversity  occurs 
in  the  shapes.  Though 
there  are  a  few  which 
seem  to  have  enjoyed 
special  popularity,  the 
potters  evidently  liked  to 
make  experiments,  and 
we  find  several  effective 
forms  of  new  outline. 

An  examination  of  the 
decorations  shows  that 
the  geometric  tradition  was  still  strong  in  Lydia.  Most  of 
the  designs,  even  though  in  new  color  schemes,  are  of  purely 


FIG.  29.     LYDIAN  VASE 


Vases— 
Lydian 


Ones  F.  H 

Pedestals 

CJ 


52  SECOND  ROOM 

geometric  character  (see  e.g.  head-band,  (p.  261).  Some, 
such  as  the  attractive  wavy  pattern  which  occurs  on  sev- 
eral of  the  vases,  are  known  from  Minoan  times.  Oriental 
influence  is  weak.  Only  a  lotos  ornament  here  and  there 
and,  in  one  case,  a  frieze  of  animals  show  that  there  was 
Eastern  contact.  Scenes  from  daily  life  and  mythology 
do  not  occur.  It  is  evident  that  the  great  impetus  toward 
such  representations  which  was  making  itself  felt  through 
most  of  the  Hellenic  world  at  this  time  did  not  reach 
Lydia.  She  was  in  fact  not  easily  accessible,  and  so  stood 
outside  the  general  currents  of  the  time.  Hence  the  strong 
individualism  of  her  pottery. 

Most  of  the  vases  here  shown  are  clearly  of  local  work- 
manship. There  are  a  few  pieces,  however,  which  can  be 
correlated  with  other  fabrics,  and  which  are  probably 
importations.  Besides  several  which  closely  resemble 
Ionian  work,  there  is  a  fine  example  of  the  class  gener- 
ally called  "  Cyrenaic,"  or  more  recently  "  Laconian."  ^  It 
has,  like  the  other  vases  of  this  type,  decorations  in  black- 
ish brown  on  a  white  background,  and  besides  the  purely 
ornamental  designs,  a  sphinx  is  painted  in  the  interior. 
This  class  of  vases  appears  to  have  been  produced  in  the 
first  half  of  the  sixth  century  B.C. 

One  of  the  marked  characteristics  of  the  seventh-cen- 
tury Greek  pottery  which  we  have  been  considering  is  the 
popularity  of  "ground  ornaments"  introduced  into  the  fig- 
ured scenes;  that  is,  the  background  of  these  scenes  is 
filled  with  decorative  ornaments,  which  have  nothing  to 
do  with  the  subjects  represented,  but  are  due  to  an  aver- 
sion to  empty  spaces  on  the  part  of  the  artist.  This  aver- 
sion, or  horror  vacui,  as  it  is  technically  called,  is,  of  course, 
a  direct  inheritance  of  the  geometric  age.    At  the  begin- 

^  No.  14.30.26. 


EARLY     GREEK     PERIOD  53 

ning  of  the  sixth  century  B.C.  this  feature  was  at  last 
dropped.  The  artist  was  becoming  more  and  more  inter- 
ested in  the  subjects  he  was  representing,  and  rightly  felt 
that  these  meaningless  ornaments  confused  his  pictures. 
Important  technical  innovations  were  also  introduced. 
The  clay  was  burnt  to  a  rather  deeper  red,  and  the  black 
glaze  was  greatly  improved.  This  period  marks  the  be- 
ginning of  the  so-called  black-figured  style.  It  is  taken  up 
in  many  localities  both  in  Greece  proper  and  in  Ionia;  but 


FIG.   30.      LYDIAN  VASE 


in  Athens,  as  we  shall  see  in  the  next  chapter,  it  received  its 
greatest  development. 

In  our  collection  this  early  black-figured  style  of  the 
first  half  of  the  sixth  century  is  represented  by  only  a  few 
examples;  these  have  been  placed  in  Cases  A  and  B.  Two,  ^^J^^i g 
an  oinochoe,  and  a  fragment  of  a  large  krater  with  a  contest 
of  warriors,  are  specimens  of  Corinthian  ware  (Case  B);  two 
others  are  Athenian  amphorai  of  the  class  often  referred  to 
as  Tyrrhenian  (Case  B);  and  two  are  probably  of  Ionian 
manufacture  (Case  A).  The  Ionian  examples  are  of  special 
interest,  for  Ionian  work  ranks  highest,  both  in  imagination 
and  in  spirited  execution,  of  all  Greek  products  of  this  period. 
The  pieces  here  shown,  however,  are  not  typical.  An  am- 
phora with  a  representation  of  fighting  warriors,  and  an 
oinochoe  with  Herakles  and  the  Nemean  lion,  are  really  of 


Vases 
Etruscan 


54  SECOND  ROOM 

an  unknown  fabric;  but  the  creamy  background  and  the 
intense,  forceful  action  of  the  figures  make  an  Ionian  origin 
probable. 

Besides  these  Greek  vases,  a  collection  of  Etruscan  pot- 
CasesN-R  t^ry  is  exhibited  in  this  room  (Cases  N,  O,  P,  Q,  R).  The 
origin  of  the  Etruscans  still  remains  one  of  the  unsolved 
problems  of  archaeology.  According  to  Herodotos  they 
came  from  Lydia;  according  to  other  theories  they  were 
autochthonous  or  came  from  Central  Europe  across  the 
Alps.  But  whatever  their  original  home,  we  know  that  by 
the  ninth  century  B.C.  they  were  settled  in  the  north  of 
Italy  and  gradually  became  a  powerful  nation.  The  im- 
portant place  which  is  assigned  to  them  in  classical  col- 
lections is  due  not  to  their  own  artistic  originality,  but 
to  the  fact  that  they,  more  than  any  other  early  Italian 
people,  appreciated  the  beauty  and  significance  of  Greek 
art  and  made  it  their  own  by  extensive  importation  and 
imitation.  We  shall  see  in  the  next  section  how  closely 
allied  Greek  and  Etruscan  art  became  in  the  archaic 
period.  In  this  early  epoch,  when  Greek  art  itself  was 
still  in  its  infancy  and  looked  to  outside  influences  for 
stimulus,  the  dependence  of  Etruscan  on  Greek  art  was 
naturally  not  so  close.  But  even  then  Corinthian  and 
Ionian  pottery  were  imported  in  large  quantities.  There 
was  also,  however,  a  flourishing  output  of  native  pottery, 
which,  though  imitative  in  shapes  and  decoration,  was 
quite  original  in  technique.  The  two  fabrics  represented 
in  our  collection  are  a  red  polished  ware  and  the  black 
"bucchero"  ware,  the  Etruscan  pottery  par  excellence. 
The  red  ware  is  found  mostly  in  tombs  of  the  seventh  cen- 
tury B.C.,  and  is  either  plain  or  decorated  with  incised, 
stamped,  or  openwork  ornaments.  Among  our  examples 
the  most  important  are  a  plate  with  a  stamped  frieze 
(South  Wall),  two  large  cauldron-stands,  and  a  "Canopic'' 


EARLY     GREEK     PERIOD  55 

jar,  with  a  cover  in  the  shape  of  a  primitive  head,  intended 
for  keeping  the  ashes  of  the  deceased  (Case  N). 

The  black  "bucchero"  ware — made  of  a  blackish  clay 
produced  probably  by  fumigation  in  a  closed  furnace — is 
well  represented  in  our  collection  (see  fig.  31).  The  ear- 
liest examples  (Case  N)  are  hand-made  and  are  generally 
small  vases  of  primitive  forms  and  heavy  clay,  the  decora- 
tions engraved  with  a  toothed  wheel  or  a  sharp  tool.  The 


TV  'fi^Va 

FIG.   31.      ETRUSCAN   BUCCHERO  VASES 

wheel-made  variety  (Cases  0-R)  shows  a  gradual  develop- 
ment in  shapes  and  ornamentation  and  a  better  quality 
of  black  clay.  At  first  the  vases  are  plain  or  decorated 
only  with  horizontal  lines,  while  the  shapes  are  clumsy. 
Gradually  the  latter  show  Greek  influence,  and  a  relief 
decoration  is  introduced.  These  reliefs,  consisting  of 
animals,  monsters,  human  figures,  and  masks,  show  in  their 
style  the  influence  of  Egypt  and  Mesopotamia,  as  well  as 
of  Greece.  Both  pottery  and  bronze  work  appear  to  have 
served  as  models.  A  separate  class  is  formed  by  a  series 
of  vases  decorated  with  small  flat  reliefs,  probably  stamped 
by  means  of  a  wheel  or  cylinder.  The  same  design  is  re- 
peated several  times  around  the  vase.  A  few  examples 
will  be  tound  in  Case  R.    Besides  the  regular  shapes  of  am- 


56  SECOND  ROOM 

phorai,  jugs,  bowls,  and  cups,  a  number  of  tray-like  objects 
have  been  found,  usually  called  braziers,  or  focolari  (Case 
R).  These  were  probably  used  in  Etruscan  funeral  rites. 
The  small  articles  found  in  them,  such  as  spoons  and  bowls, 
suggest  that  they  had  to  do  with  eating;  and  it  is  probable 
that  either  the  banquet  of  the  deceased  was  served  in  them 
or  that  they  were  used  at  ceremonies  in  memory  of  the 
dead. 

This  black  bucchero  ware  is  found  in  the  Etruscan  cham- 
ber tombsfrom  the  seventh 
to  the  fifth  century  B.C., 
side  by  side  with  the  im- 
ported Greek  fabrics. 
Though  inferior  to  the  lat- 
ter in  the  interest  of  its 
decorations,  it  neverthe- 
less has  a  strong  decora- 
tive quality;  and  the  fme, 
sturdy  shapes  and  the  rich, 
black  coloring  make  a  di- 
rect appeal  to  our  modern 
taste. 

Bronzes  The  bronzes  and  terracottas  of  the  period  show  the  same 
stylistic  characteristics  observed  on  the  vases.  A  bronze 
kylix,  or  cup,  is  decorated  with  engraved  designs  similar 
to  those  which  occur  on  Corinthian  vases  of  the  seventh 
century,  and  has  been  placed  with  them,  in  Case  K,  for 
comparison.  The  ornamentation  consists  of  a  frieze  of  ani- 
mals with  a  border  of  lotos  buds  beneath.  The  animals 
are  mostly  of  the  monstrous  shapes  borrowed  from  Eastern 
art — a  winged  goat,  a  lion,  a  panther,  a  winged  panther, 
a  winged  lion  with  the  head  of  a  bearded  man,  and  a 
grilfm.  The  background  is  filled  with  ornaments.  These 
designs  are  first  sketched  with  a  sharp  instrument  and  are 


FIG.   32.     TERRACOTTA  PLAQUE 
MOURNERS  AT  A  FUNERAL 


EARLY     GREEK     PERIOD  yj 

then  gone  over  with  another  instrument,  producing  in- 
stead of  a  continuous  line  a  series  of  hatched  Hues. 

The  other  bronzes  have  been  placed  in  Case  B.  An  Case  B 
ornament  worked  in  a  jour  relief  represents  two  lions  her- 
aldically  grouped  on  each  side  of  a  lotos  flower.  A  handle 
of  a  large  vase  decorated  with  sphinxes  and  reclining  fig- 
ures, and  a  plate  ornamented  with  a  frieze  of  winged  mon- 
sters are  Etruscan  rather  than  Greek  in  style,  and  date 
from  the  seventh  or  early  sixth  century  B.C. 

A  terracotta  plaque  of  the  late  seventh  or  early  sixth  ^^t*^^^" 
century  B.C.  is  a  rare  piece  of  great  interest  (fig.  32;  North 


FIG.   33.      ETRUSCAN   GOLD  FIBULA 


Wall).  It  is  decorated  with  a  funeral  scene  in  low  relief  on 
which  numerous  traces  of  the  original  paint  are  still  visible. 
The  treatment  of  the  subject  is  reminiscent  of  the  represen- 
tations on  the  geometric  vases  (see  pp.  40-42).  The  dead 
woman  is  laid  out  on  a  couch,  surrounded  by  five  mourn- 
ing women,  tearing  their  hair  in  an  attitude  of  lamentation. 
The  style  is  still  very  archaic.  The  features  are  heavy, 
the  hair  is  depicted  as  a  series  of  horizontal  rolls,  and  there 
are  many  mistakes  in  drawing.  But  the  figures  are  no 
longer  mere  angular  abstractions,  as  they  are  on  the  geo- 
metric vases,  and  the  artist  shows  a  new  interest  in  making 
the  scenes  lifelike  and  animated.  The  relief  was  found  at 
Olympos,  and  is  therefore  presumably  of  Attic  work- 
manship. 

A  terracotta  head  from  Thebes  is  of  a  primitive  type 


58  SECOND  ROOM 

Case  B  and  dates  probably  from  the  seventh  century  B.C.  (Case 
B).  It  is  about  three-quarters  Hfe  size,  and  wears  a  close- 
fitting  cap  and  earrings  of  a  double  spiral  type.  All  over 
the  surface  are  extensive  traces  of  color. 

Jewelry  A  few  pieces  of  gold  jewelry  belonging  to  this  period  are 
exhibited  in  the  Gold  Room  (Floor  11,  Gallery  32).  They 
show  an  extraordinary  technical  ability  and  speak  highly 
for  the  skill  of  contemporary  goldsmiths.  A  beautiful 
Etruscan  fibula  (fig.  33)  of  the  seventh  century  B.C.  is 
decorated  with  animals  in  extremely  fine  granular  work; 
while  two  spirals,  perhaps  pendants  of  earrings,  are  orna- 
mented with  human  heads  and  balls,  similarly  covered 
with  fine  granular  patterns.  The  latter  are  probably  of 
Phoenician  or  Ionic  workmanship  of  the  eighth  or  seventh 
century.  The  types  of  the  heads  are  strongly  Oriental  in 
character. 


THIRD  ROOM 


ARCHAIC  PERIOD 

SIXTH  CENTURY  B.C. 

The  early  political  history  of  most  Greek  states  was 
marked  by  the  change  first  of  monarchies  into  oligarchies, 
and  then,  when  the  rule  of  the  nobles  who  had  usurped  the 
power  became  intolerable,  of  oligarchies  into  tyrannies. 
The  origin  of  these  ''tyrannies"  was  thus  in  many  cases 
the  assumption  of  power  by  a  liberator  rather  than  an 
oppressor  of  the  people;  and  since  these  "tyrants''  were 
often  strong  and  wise  men,  their  rule  was  generally  marked 
by  a  restoration  of  general  order  and  an  enlightened  culti- 
vation of  the  arts.  Thus  Athens  under  the  reign  of  Peisis- 
tratos,  in  the  second  half  of  the  sixth  century  B.C.,  became 
a  powerful  state  with  a  flourishing,  far-reaching  commerce. 
And  the  same  may  be  said  of  a  number  of  other  states. 
The  conditions,  therefore,  were  favorable  to  the  develop- 
ment of  Greek  art. 

The  sixth  century  is  accordingly  a  period  of  growth  in 
every  direction,  though  not  yet  one  of  final  achievement. 
The  artists  were  still  battling  with  the  manifold  problems 
which  confronted  them;  but,  thanks  to  the  efforts  of  the 
past,  they  had  passed  the  stage  of  primitive  beginnings, 
and  had  evolved  certain  standards  which  were  to  remain 

59 


6o 


THIRD  ROOM 


decisive.  In  other  words,  Greek  art  was  well  headed  on 
the  way  toward  the  accomplishment  of  its  ideals,  but  a 
difficult  road  was  still  before  it.  It  had  learned  from  other 
nations  all  that  they  could  teach,  and  was  now  confronted 
with  questions  which  the  others  had  never  solved,  but 
which  the  Greeks  felt  should  and  could  be  solved.  It  is 
the  patient  determination  which  they  brought  to  their  task, 
coupled,  of  course,  with  a  great  artistic  genius  and  appre- 
ciation of  beauty,  which  made  Greek  art  what  it  finally 
became.  To  us,  this  period  of  persistent  struggle  by  highly 
gifted  artists  is  one  of  peculiar  interest  and  fascination; 
for  here  we  see  worked  out  before  our  eyes  the  great  prob- 
lems of  correct  representation.  To  model  and  paint  the 
human  body  and  its  drapery  in  full  front,  in  profile,  and 
from  every  angle;  to  represent  it  at  rest  and  in  motion; 
and  to  do  this  correctly  in  every  detail,  was  what  the 
archaic  Greek  artist  regarded  as  the  task  which  above  all 
else  required  solution.  Nowadays  we  take  these  things  for 
granted — but  only  because  they  were  solved  for  us  once 
for  all  in  Greek  art.  When  the  Greeks  had  once  accom- 
plished this,  they  proceeded  to  other  tasks;  but  they  felt, 
and  we  know  now  how  rightly,  that  they  could  not  use  the 
human  figure  or  anything  else  as  a  proper  vehicle  for  ex- 
pression with  faulty  modeling  or  drawing. 

In  order  to  attain  his  ends  the  archaic  Greek  artist 
selected  a  few  types  and  worked  at  these  with  wonderful 
concentration,  improving  steadily  as  he  went  on.  This 
systematic  procedure  remained  one  of  the  chief  character- 
istics of  Greek  art.  Even  as  late  as  the  fourth  century 
B.C.,  when  complete  freedom  of  representation  had  long 
been  attained,  the  same  poses  for  various  figures  were  used 
again  and  again.  There  are  other  questions  which  the 
archaic  artist  decided  once  for  all  for  himself  and  his  suc- 
cessors.   The  monstrous  shapes  of  the  East  were  definitely 


62 


THIRD  ROOM 


discarded,  or  at  least  given  a  subsidiary  place.  The  gods 
and  heroes  were  represented  in  human  form;  and  since 
they  played  an  important  part  in  the  art  of  the  period,  this 
helped  to  concentrate  the  attention  of  the  artist  on  the 
human  body.  In  his  representation  he  was  strongly  in- 
fluenced by  the  athletic  ideal,  which  had  been  fostered  in 
Greece  by  the  great  Panhellenic  festivals.  At  these,  citi- 
zens from  every  Greek  state  competed  in  athletic  contests, 
and  victory  was  regarded  as  one  of  the  highest  honors 
which  could  befall  a  human  being.  Consequently,  great 
importance  was  given  to  the  beauty  and  development  of 
the  human  body;  moreover,  the  artist  had  ample  oppor- 
tunity to  study  it  every  day  while  the  youths  and  men 
practised  their  various  sports.  It  is  natural,  therefore, 
that  he  should  select  the  athletic  type  for  his  representa- 
tions. It  is  observable  both  in  the  male  and  in  the  fe- 
male forms.  The  former  is  often  represented  completely 
nude,  and  is  always  muscular  and  vigorous.  The  latter 
is  commonly  draped,  but  of  a  slender  and  comparatively 
straight  shape — very  different  from  the  former  Minoan 
ideal. 

The  Museum  owns  a  number  of  first-rate  pieces  of  ar- 
chaic sculpture.  The  larger  marble  pieces  have  been  placed 
with  the  other  sculptures  in  the  Central  Hall,  and  are  de- 
scribed in  the  chapter  dealing  with  that  gallery  (p.  203). 
But  some  of  the  smaller  marbles  and  the  sculptural  work 
in  other  materials  have  been  assembled  in  this  room. 
Bronzes  In  the  large  center  case,  M,  is  exhibited  one  of  the  most 
Case  M  famous  objects  in  our  collection — the  Etruscan  bronze 
chariot  from  Monteleone  (fig.  34).  It  is  the  only  complete 
ancient  bronze  chariot  known,  and  constitutes  one  of  the 
most  notable  examples  of  antique  metalwork.  It  was 
made  of  wood  with  bronze  sheathing  and  iron  tires.  When 
found,  it  was  in  a  very  fragmentary  condition;  the  wood 


ARCHAIC     PERIOD  63 

foundation  is  entirely  new,  but  no  new  pieces  of  bronze 
were  inserted;  the  pole  has  not  been  constructed  to  its  full 
length. 

The  plates  which  form  the  sheathing  of  the  chariot  are 
of  very  thin  bronze,  and  are  richly  ornamented  with  reliefs 
in  repousse  work  with  incised  details.  The  chief  decora- 
tion is  on  the  outer  surface  of  the  body  of  the  chariot,  and 
is  divided  into  three  panels  with  a  band  below,  correspond- 
ing to  the  natural  divisions  made  by  the  structure  of  the 
chariot.  In  the  central  panel  a  warrior  is  represented  re- 
ceiving his  armor  from  his  wife  before  setting  out  for 
battle;  on  the  left,  a  warrior  is  fighting  and  conquering  his 
enemies;  while  on  the  right,  a  third  warrior  is  driving  a 
winged  chariot.  All  three  subjects  are  well  known  in 
archaic  Greek  art;  some  of  the  accessories — such  as  the 
fawn  on  the  central  panel,  the  recumbent  female  figure  on 
the  right,  and  the  birds — are  best  explained  as  decorative 
motives  introduced  to  fill  the  space,  as  we  find  them  on 
the  Greek  vases  of  the  period.  For  by  the  middle  of  the 
sixth  century  B.C.  Etruscan  art  had  become  entirely  de- 
pendent on  Greek  art.  Not  only  were  Greek  products 
imported  in  great  quantities,  but  the  Etruscan  artists  set 
themselves  to  imitate  closely  the  Greek  style,  the  Greek 
technique,  and  the  subjects  of  Greek  mythology  and  life. 
But  though  the  products  of  the  two  countries  are  thus 
closely  related,  it  is  seldom  difficult  to  distinguish  between 
the  works  of  the  originators  and  of  the  imitators.  The 
figures  on  our  chariot  are  all  more  or  less  conventional, 
without  that  lifelike  animation  which  is  characteristic  of 
Greek  work.  Moreover,  the  adaptation  of  the  figures  to 
the  spaces  they  decorate  shows  the  lack  of  dexterity  we 
should  expect  from  an  Etruscan  imitator.  The  beauty  and 
richness  of  the  incised  ornaments  (see  e.g.  tail-piece,  p.  86) 
are  only  another  argument  for  Etruscan  workmanship,  for 


64 


THIRD 


ROOM 


it  is  just  in  such  decorative  work  that  the  Etruscans  are 
known  to  have  excelled. 

A  number  of  objects  found  in  the  tomb  with  the  chariot 
have  been  placed  in  Case  S.  They  are  of  a  miscellaneous 
character,  consisting  of  clay,  bronze,  and  iron  utensils,  and 
are  of  great  interest  in  showing  the  variety  of  articles 
placed  in  tombs  with  the  deceased.    Among  them  are  two 


portant  is  a  nude  dancing  girl  which  once  served  as  a  mir- 
ror-support (fig.  36;  Case  H).  She  is  represented  standing 
on  the  back  of  a  huge  frog  and  playing  upon  a  pair  of 
cymbals.  The  modeling  of  the  slender  body  and  limbs 
shows  a  keen  appreciation  of  the  beauty  of  natural  forms, 
and  much  understanding  in  expressing  the  relation  of 
muscle  to  bone.  The  head,  however,  has  still  all  the  short- 
comings of  archaism — the  ears  placed  too  high,  the  eyes 
on  nearly  the  same  plane  as  the  forehead  instead  of 
being  sunk  below  it,  the  meaningless  smile  of  the  mouth, 
and  a  primitive  rendering  of  the  hair.  The  feet,  more- 
over, are  carelessly  modeled.  Therefore  the  date  of  the 
statuette  can  hardly  be  later  than  the  middle  of  the  sixth 


Athenian  black-fig- 
ured ky likes,  of  a 
type  dating  from 
about  the  middle  of 
the  sixth  century, 
which  help  to  fix  the 
date  of  the  chariot. 


FIG.   35.     BRONZE  STATUETTE 
A  CENTAUR 


Our  collection 
comprises  a  number 
of  smaller  sculptural 
works  in  bronze  be- 
longing to  this  peri- 
od.   The  most  im- 


FIG.  36.     BRONZE  MIRROR  STAND 


66 


THIRD  ROOM 


century  B.C.  Though  it  was  found  in  Cyprus,  it  presum- 
ably did  not  originate  there,  since  it  shows  no  affinities 
with  Cypriote  art  as  distinguished  from  the  pure  Greek  art 
of  the  period.  It  is  probably  the  product  of  a  Pelopon- 
nesian  school. 

CaseO  Other  bronze  statuettes  of  the  sixth  century  (Case  O) 
show  the  same  earnest  study  of  nature  coupled  with  a 
limited  ability  to  express  it.  A 
characteristic  early  specimen  is  the 
figure  of  a  running  youth,  repre- 
sented as  kneeling  on  one  knee, 
with  his  head  and  the  upper  part 
of  his  body  in  full  front,  while  the 
legs,  from  the  waist  down,  are  in 
profile.  The  figure  of  an  Arcadian 
peasant,  wearing  a  pointed  hat 
and  a  mantle  carefully  fastened 
across  his  breast,  is  an  attractive 
piece.  On  the  plinth  of  the  stat- 
uette is  incised  an  inscription: 
"Phauleas  dedicated  it  to  Pan.'* 
Pan  was  the  chief  god  of  the  Arca- 
dian peasants,  so  that  this  statu- 
ette of  the  peasant  Phauleas  was 
FIG.  37.   BRONZE  STAT-         appropriate  offering  to  his  god. 

UETTE.      A   BOY  CAR-  rr      r  o  o 

RYiNG  A  PIG  A  figure  representing  a  man  playing 

the  lyre  is  inscribed  on  the  back: 
"Dolichos  dedicated  me.''  It  too  was  clearly  an  offering 
to  a  deity.  Another  specimen  of  the  rigid  standing  type  is 
a  statuette  of  Apollo,  wearing  the  chlamys  in  shawl  fashion 
and  grasping  a  bow  in  one  hand.  The  nude  standing  male 
and  female  types  are  represented  by  several  statuettes  of 
which  the  most  notable  are  a  so-called  Apollo  grasping  a 
round  object  in  one  hand,  and  a  nude  female  figure  hold- 


ARCHAIC  PERIOD 


67 


ing  a  lotos-bud.  The  statuette  of  a  horse,  lent  by  Junius 
Morgan,  is  an  interesting  example  of  early  animal  sculpture. 
The  statuette  of  a  Centaur,  lent  by  J.  P.  Morgan,  shows 
how  successful  the  archaic  artist  sometimes  was  in  the 
portrayal  of  rapid  motion  (fig.  35).  The  Centaur  is  repre- 
sented in  full  gallop,  swinging  an  object  (which  may  be  a 
branch  or  a  club)  in  both  hands,  ready  for  the  attack. 
The  rendering  of  the  features 
and  of  the  hair  shows  many 
archaisms,  but  the  body  itself 
is  modeled  with  masterly  un- 
derstanding of  the  essential. 

Three  fine  examples  of  ad- 
vanced archaic  art  have  been 
placed  in  Case  B  (figs.  37-39). 
They  are  a  youth  of  stocky 
build  carrying  a  pig  on  his 
shoulders,  a  statuette  of  Her- 
akles  with  a  lion's  skin  wound 
round  his  waist,  and  a  group  of 
Seilenos  and  a  nymph.  Her- 
akles  is  represented  as  kneel- 
ing on  one  knee,  like  the  early 
running  figure  in  Case  O;  the 
upper  part  of  the  body,  how- 
ever, is  no  longer  in  full  front,  but  turned  partly  sidewise, 
and  the  portrayal  of  the  features  is  more  successful.  Though 
the  attributes  of  the  statuette  are  missing,  both  hands  being 
broken  away,  we  know  from  analogous  figures  that  he  held 
a  club  in  his  right  hand,  and  a  bow  in  his  left.  The  group 
of  Seilenos  and  a  nymph  is  full  of  the  naive  touches  which 
constitute  so  much  of  the  charm  of  archaic  Greek  art.  He 
is  represented  kneeling  on  one  knee,  looking  up  in  an  appeal- 
ing way  at  the  nymph  who  is  sitting  on  his  shoulder;  she 


FIG.  38.  BRONZE  GROUP 
SEILENOS  AND  A  NYMPH 


Case  B 


68 


THIRD  ROOM 


is  raising  her  hands  with  a  deprecating  air,  as  if  to  ward  off 
his  advances.  The  execution  is  excellent;  both  the  nude, 
vigorous  body  of  the  Seilenos  and  the  dainty  draped  figure 
of  the  nymph  are  beautifully  modeled,  and  all  details,  such 
as  the  incised  lines  of  the  hair  and  little  folds  of  the  gar- 
ments, are  carefully  rendered. 

The  statuette  of  a  draped,  standing  girl  (Case  D),  lent 
by  J.  Pierpont  Morgan,  is  one  of  the  finest  Etruscan  stat- 


the  copyist.  She  is  supposed  to  be  wearing  above  the 
chiton  a  himation  of  early  style,  like  the  one  represented 
on  the  marble  statue  described  on  p.  208.  Its  rendering, 
however,  clearly  shows  that  the  artist  did  not  understand 
what  he  was  representing.  Instead  of  making  it  pass 
round  the  figure  front  and  back,  he  has  treated  it  merely  as 
a  sort  of  front  panel,  terminated  on  both  sides  and  not 
appearing  at  all  on  the  back.  There  are  also  other  errors, 
particularly  in  the  treatment  of  the  hair,  where  the  loops, 
which  should  pass  over  the  temples,  are  represented  as 
separate  tufts  of  hair.    The  general  effect  of  the  hair,  how- 


FIG.  39.    BRONZE  STATUETTE 
HERAKLES 


uettes  in  existence.  It  has  all 
the  grace  and  delicate  charm 
which  distinguish  Greek  art 
without  giving  any  suggestion 
of  artificiality  due  to  imitation. 
The  features  are  carefully 
modeled  and  no  longer  in  the 
primitive  manner,  but  in  the 
developed  archaic  style.  More- 
over, there  is  a  distinct  attempt 
to  make  the  form  of  the  body 
show  through  the  drapery,  the 
rendering  of  the  chest  being 
particularly  good.  An  analysis 
of  the  dress,  however,  betrays 


ARCHAIC  PERIOD 


69 


ever,  is  admirable;  especially  at  the  back,  where  its  smooth, 
glossy  surface  is  reproduced  with  extraordinary  ability. 

Besides  these  statuettes  our  collection  comprises  a  num- 
ber of  bronze  utensils  or  parts  of  utensils,  which  all  testify 
to  the  great  decorative  instinct  of  the  Greeks.  Not  only 
do  the  shapes  show  distinction 
and  grace,  but  the  objects  are 
mostly  ornamented  with  fine 
decorations.  For  to  a  Greek  it 
was  not  enough  to  have  an 
article  useful;  it  also  had  to 
be  beautiful.  And  as  a  result 
his  humblest  household  arti- 
cles are  now  exhibited  in  our 
museums  as  works  of  art. 

Ten  vases,  said  to  have  been 
found  together  in  a  tomb  at 
Civita  Castellana,  are  excellent 
examples  of  such  work  (Case 
E).  They  consist  of  three  jugs 
with  beaked,  trefoil  mouth  and 
high-shouldered  body  (see  fig. 

40)  ;  four  cylindrical  jars;  a  patera  with  long  handle  (see  fig. 

41)  ;  a  silver  cup  with  bronze  handle;  and  a  vessel  of  which 
only  the  round  mouth  is  preserved.  The  bronze  pieces  are 
all  covered  with  a  brilliant  blue  patina.  In  elegance  of 
form  and  in  precision  and  delicacy  of  workmanship  such 
products  have  rarely  been  surpassed.  The  handle  of  the 
patera  in  particular,  with  its  elaborate  decorations  in  re- 
lief and  openwork,  may  be  regarded  as  a  masterpiece  of 
Greek  decorative  art. 

Other  fine  jugs  and  handles  will  be  found  in  Case  O,  and 
in  the  desk  case  C  by  the  window. 

In  Case  J  are  shown  a  few  pieces  of  armor  which  belong 


FIG.  40.     BRONZE  JUG 


Bronzes- 
Utensils 


Case  E 


Cases 
C  and  O 


70 


THIRD  ROOM 


Bronzes — 
Armor 
Case  J 


Marbles 

Case  G 


to  about  this  period.  Two  are  helmets  of  the  so-called 
Corinthian  type,  which  was  in  general  use  from  the  seventh 
to  the  early  fifth  century  B.C.  One  is  of  the  early  type, 
made  of  fairly  thin  bronze,  of  equal  thickness  throughout, 
and  with  small  holes  around  the  edge  for  the  attachment 
of  the  lining.  The  other  is  of  the  later 
type,  in  which  the  cheek-pieces  and  espe- 
cially the  nose-piece  were  made  of  thicker 
bronze  than  the  rest  of  the  helmet,  and 
the  small  holes  around  the  border  were  dis- 
pensed with,  the  lining  being  now  needed 
only  on  the  crown  and  the  neck.  It  is  of 
much  more  shapely  form  than  the  other, 
and  is  decorated  along  the  edge  with  a 
fmely  executed  border  of  spirals.  A  third 
helmet,  of  the  so-called  Attic  type,  diflfers 
from  the  foregoing  in  several  respects,  espe- 
cially in  the  shape  of  the  cheek-pieces, 
which  are  cut  so  as  to  leave  the  ears  free. 
It  was  used  from  the  sixth  to  the  fourth 
f#**^l  century;  our  example  dates  probably  from 
(*   ^1         the  end  of  the  sixth. 

A  pair  of  greaves  made  of  rather  thick 
sheets  of  bronze,  and  with  the  outlines  of 
the  calves  roughly  modeled,  belong  proba- 
bly to  the  sixth  century  B.C.  They  were 
kept  in  place  by  their  elasticity. 

In  Case  G  is  a  marble  lamp,  beautifully 
ornamented  with  sphinxes,  sirens,  lions,  and 
in  flat  relief  (fig.  43).    The  work  shows 
A  small  piece  belonging 


FIG.  41. 

BRONZE  HANDLE 
OF  A  PATERA 


other  animals 

great  delicacy  and  refinement 
to  this  lamp  is  in  the  Museum  of  Fine  Arts  in  Boston, 
and  has  here  been  reproduced  in  a  plaster  copy.  The 
lamp  originally  stood  on  an  iron  pedestal,  of  which 


ARCHAIC  PERIOD 


71 


traces  still  remain.  It  may  have  served  to  light  a 
temple. 

A  marble  head  of  a  youth  from  a  relief  (placed  on  top 
of  Case  Q)  is  noteworthy  for  the  treatment  of  the  eyes, 
which  are  left  hollow,  and  were  evidently  intended  to  be 
inlaid  with  some  other  material. 

The  terracotta  works  of  the  period  have  been  placed 
mostly  in  Case  J.  They  show  the 
same  gradual  development  from 
primitive  archaism  exhibited  by  the 
objects  in  marble  and  bronze.  Three 
larger  pieces,  a  female  mask  from 
Rhodes,  one  from  Lydia,  and  a  head 
in  the  round  wearing  a  pointed  cap, 
are  excellent  illustrations  of  the  ar- 
chaic treatment  of  the  head,  and  of 
its  difficulties  in  the  modeling  of  the 
eyes,  mouth,  and  ears.  The  statuettes 
are  chiefly  of  seated  female  figures, 
in  characteristically  stiff  attitudes, 
but  of  a  certain  charm  and  dignity. 
They  may  represent  either  goddesses 
or  votaries.  Several  still  show  ex- 
tensive traces  of  coloring  on  their 
surface.  A  statuette  of  a  standing 
female  figure,  from  Lydia,  is  in  the 
same  attitude  as  the  two  marble  figures  described  on  pp. 
208-21 1 .  Interesting  pieces  are,  further,  two  animal  statu- 
ettes, a  goat  and  a  stag,  and  several  small  vases  modeled 
in  the  form  of  heads  and  figures. 

An  ornamental  tile  from  Lydia  is  an  effective  decorative 
piece,  and  illustrates  the  employment  of  painted  terracotta 
in  architecture;  as  do  also  several  antefixes  and  a  revet- 
ment with  a  decoration  of  palmettes  and  lotos  flowers,  all 


FIG.  42.    IVORY  RELIEF 
A  GIRL   PLAYING  THE 
LYRE 


Terra- 
cottas 
Case  J 


72  THIRDROOM 

said  to  have  come  from  an  Etruscan  temple  at  Cervetri. 
These  pieces  have  been  placed  at  the  top  of  the  wall  cases 
J,  P,  R,  S,  and  on  the  west  wall. 

Case  C  Among  the  miscellaneous  material  shown  in  Case  C 

two  reliefs  are  of  unusual  interest  both  for  the  materials 
in  which  they  are  worked  and  for  the  excellence  of  their 

Ivory  workmanship.  One  is  in  ivory  and  represents  a  girl  play- 
ing the  lyre  and  dancing  to  its  music  (fig.  42).  It  probably 
served  to  decorate  some  curved  object,  perhaps  a  box. 

Amber  The  Other  relief  is  in  amber  and  represents  a  woman  and 
a  boy  reclining  on  a  couch,  at  the  foot  of  which  a  little 
child  (slave-boy?)  is  sitting  (fig.  44).  The  woman  is  hold- 
ing an  ointment  vase  and  is  dipping  something  into  it. 
The  figures  have  no  other  attributes,  and  it  is  difficult  to 
identify  them  with  any  mythological  personages,  if  such 
were  intended.  Perhaps  we  have  here  a  representation  of 
the  goddess  Aphrodite  and  her  young  favorite  Adonis. 
The  group  apparently  served  as  an  ornament  of  an  object, 
remains  of  the  original  iron  rivets  being  still  preserved.  It 
is  said  to  have  been  found  at  Tarentum,  and  is  a  loan  from 
J.  Pierpont  Morgan. 

Glass  Case  C  also  contains  a  fine  collection  of  beads  of  the 

sixth  and  fifth  centuries;  for  since  approximately  the  same 
types  were  used  during  both  those  periods,  they  are  here 
shown  together.  The  majority  are  "  eyed  "  beads,  of  which 
we  saw  earlier  varieties  in  Room  II,  Case  D.  A  compari- 
son with  them  will  show  the  greatly  increased  skill  and 
finish  with  which  the  bead  makers  now  worked.  A  new 
technique  is  that  of  leaving  drops  of  glass  protruding  from 
the  surface.  The  beads  in  the  form  of  grotesque  masks 
are  quaint  products,  clearly  showing  Oriental  influence. 
Most  of  the  examples  here  exhibited  form  part  of  the 
Greau  Collection  of  Ancient  Glass,  lent  by  J.  Pierpont 
Morgan. 


ARCHAIC  PERIOD 


73 


FIG.  43.  MARBLE 
TEMPLE  LAMP 


One  of  the  most  remarkable  phenomena  in  the  history 
of  Greek  vases  is  the  absorption  of  the  market  of  the  world 
by  Athenian  ware.  In  the  seventh  and  early  sixth  cen- 
turies there  were  flourishing  ceramic  centers  all  over  Greece 
and  her  colonies,  and  each  of  these  produced  its  own  in- 
dividual pottery.  The  result 
was,  as  we  have  seen,  that 
there  was  a  great  variety  of 
fabrics,  with  different  tech- 
niques and  styles.  By  the 
second  half  of  the  sixth  cen- 
tury a  change  began  to  take 
place.    Local  fabrics  in  the 

different  parts  of  the  Greek  world  gradually  disappeared, 
and  Athenian  ware  took  their  place.  This  wide  distribu- 
tion of  the  products  of  one  community  over  an  area 
which  included  Greece  Proper,  the  Aegean  Islands,  the 
Cyrenaica,  Egypt,  Asia  Minor,  the  Crimea,  and  above  all 
Italy  and  Sicily,  is  eloquent  testimony  to  the  powerful 

commerce  and  rising  artis- 
tic importance  of  the  city 
of  Athens. 

The  great  popularity 
which  these  Athenian 
vases  enjoy  above  all 
other  Greek  pottery  at 
the  present  time  is  due  to 
various  causes.  First  of 
all,  the  shapes  show  a  beauty  of  li^e  and  proportion  and 
a  refinement  of  detail  which  place  them  in  the  front  rank 
of  artistic  pottery;  for  the  forms,  which  up  to  the  sixth 
century  had  been  of  great  variety,  now  became  standard- 
ized, and  the  potter  spent  all  his  energies  in  perfecting 
a  few  selected  shapes.    The  commonest  of  these  are 


Pottery 


FIG.  44.     AMBER  GROUP 


74  THIRDROOM 

shown  in  fig.  45.  Moreover,  an  important  invention  was 
made  which  was  to  determine  the  character  of  Athenian 
pottery.  This  was  the  production  of  a  black,  luminous 
glaze,!  of  astonishing  durability,  which  finely  set  off  the 
rich  coppery  red  of  the  native  clay.  But  most  important 
of  all  was  the  fact  that  the  decorations  on  the  vases  were 
now  definitely  confined  to  scenes  from  daily  life  and  from 
mythology.  The  rows  of  animals,  so  popular  in  the  sev- 
enth century,  appear  only  rarely,  in  subsidiary  places,  and 
the  figured  scenes,  which  had  been  getting  more  popular  in 
the  early  sixth  century  B.C.,  are  now  practically  universal. 
This  feature  adds  a  new  interest  to  Greek  ceramics.  They 
are  now  no  longer  beautifully  decorated  objects  which  once 
served  as  utensils  to  the  Greeks,  but  they  form  one  of  the 
chief  sources  of  our  knowledge  of  Greek  life;  for  they  pre- 
sent us  with  a  beautiful  series  of  illustrations  of  the  great 
stories  of  Greek  gods  and  heroes,  and  show  us  the  men  and 
women  of  the  time  engaged  in  everyday  pursuits. 

Besides  the  figured  scenes,  another  part  of  the  decoration 
adds  greatly  to  the  attraction  of  Greek  vases,  namely,  the 
ornamental  designs.  They  are  indeed  among  the  most 
successful  products  of  the  Greek  draughtsman.  They  were 
employed  for  dividing  the  surface  of  the  vase  into  its  com- 
ponent parts,  they  form  effective  framings  for  the  chief 
compositions,  and  they  decorate  spaces  not  occupied  by 
either  the  figured  scenes  or  the  black  glaze.  Occasionally, 
as  on  several  fine  examples  in  our  collection,  they  form  the 
sole  decorations.  The  favorite  motives  are  the  lotos  fiower 
and  the  palmette  (borrowed  in  the  preceding  century  from 
the  East,  but  now  transformed  into  thoroughly  Greek 
compositions  of  remarkable  elegance),  the  meander,  ivy 
and  laurel  wreaths,  rays,  and  tongue  pattern. 

1  The  composition  of  this  glaze  has  been  the  subject  of  much  investiga- 
tion.   It  contains  no  lead,  as  do  most  of  the  modern  glazes. 


ARCHAIC  PERIOD 


75 


The  technique  of  these  Athenian  vases  during  the  sixth 
century  is  the  so-called  black-figured,  that  is,  the  designs 
were  painted  in  black  on  the  red  color  of  the  clay.  The 
details  of  the  figures  and  ornaments  were  scratched  in  with 
a  pointed  instrument,  and  purple  and  white  used  as  acces- 


Skyphos  Kylix 

Kylix 

'i  S 

Oinochoe    Alabastron  Stamnos 

Lekythos  Olpe 

Amphora  Hydria  Krater 

FIG.  45-     SHAPES  OF  ATHENIAN   BLACK-FIGURED  VASES 


sory  colors.  Sometimes  a  white  slip  was  used  on  the  body 
of  the  vase,  in  which  case  the  black  figures  stand  out 
against  white  instead  of  red. 

Our  collection  of  Athenian  vases  is  fairly  representative 
and  gives  a  good  general  idea  of  this  ware.  In  the  figured 
scenes  we  shall  observe  many  of  the  same  characteristics 


76  THIRDROOM 

as  in  the  sculptural  works  of  this  period;  notably  the  charm- 
ing simplicity  of  conception  and  the  delicate  feeling  for 
beauty.  They  also  show  the  same  stylistic  limitations, 
the  inability  to  represent  an  eye  in  profile,  the  slow  but 
gradual  development  in  drawing  the  folds  of  a  garment, 
and  the  limited  knowledge  of  perspective.  But  there  are 
certain  rather  arbitrary  conventions  in  the  vase-represen- 
tations with  which  the  sculptor  dispensed;  for  instance, 
that  of  representing  men's  eyes  round  and  women's  eyes 
oval,  and  painting  the  flesh  of  men  black  and  that  of  women 
white. 

The  more  important  vases  in  our  collection  have  been 
placed  mostly  in  the  free-standing  cases  A,  F,  K,  L,  N; 
while  those  of  less  good  preservation  or  workmanship  will 
be  found  in  the  wall  cases  P,  Q,  R. 
Case  K  In  Case  K  are  several  vases  which  deserve  special  notice. 

A  krater  (a  vase  for  mixing  wine  and  water),  with  a  combat 
of  Herakles  and  Apollo  for  the  Delphic  tripod,  is  executed 
with  beautiful,  detailed  work.  The  contestants  are  in  the 
center  of  the  scene,  each  supported  by  his  charioteer  and 
favoring  deity — ^Athena  backing  Herakles,  Artemis  her 
brother  Apollo.  The  names  of  the  figures  are  inscribed, 
according  to  the  common  custom  of  the  period.  A  pictur- 
esque feature  is  the  painting  of  boats  on  the  inside  of  the 
neck  of  the  vase  (see  head-band,  p.  59).  When  the  krater 
was  full,  these  would  appear  as  floating  on  the  wine. 

A  hydria  (water-jar)  has  a  picture  of  women  going  to  a 
fountain  with  their  pitchers  to  fetch  water — a  custom 
which  may  be  seen  in  modern  Greece  and  Italy  to  this  day. 
It  will  be  noticed  that  the  pitchers  the  women  are  carrying 
are  of  the  same  shape  as  the  vase  on  which  the  scene  is 
painted. 

A  kylix  (drinking-cup),  on  the  upper  shelf,  signed  by 
the  potter  Nikosthenes  (NIKO^OENE^  MEPOIE^EN— 


ARCHAIC     PERIOD  77 

"Nikosthenes  made  me")  is  our  only  important  signed  vase 
of  this  period  (fig.  46).  We  may  suppose  that  a  signature 
meant  then  what  it  has  since,  that  the  maker,  being  proud  of 
his  work  and  perhaps  afraid  of  imitations,  Hked  to  attach  his 
own  stamp  to  his  products.  Nikosthenes  was  the  most  pro- 
ductive of  all  known  Greek  potters,  judging  at  least  by  the 
number  of  vases  bearing  his  signature  which  have  survived, 


FIG.  46.      KYLIX   SIGNED   BY  NIKOSTHENES 


for  there  are  altogether  about  eighty  examples  of  his  work 
known.  The  designs  on  our  vase— a  chariot  scene  and 
Dionysos  with  Satyrs  and  Maenads — are  not  executed  with 
great  finish;  but  as  a  specimen  of  pottery,  that  is,  from  the 
point  of  view  of  the  shape,  the  baking,  and  the  quality  of 
the  black  glaze,  it  is  a  magnificent  specimen. 

A  small  kylix  of  the  so-called  Kleinmeister"  type  is  our 
only  other  signed  example  of  this  period.  On  this  the  sig- 
nature X^ENOKtE^  EPOIE^E  is  the  chief  ornamenta- 
tion. Two  vases  have  representations  of  musicians.  A  small 
amphora  shows  a  boy  singing  to  the  flute,  and  a  man  danc- 
ing and  playing  the  lyre.  The  platforms  on  which  the 
musicians  stand  indicate  that  they  are  playing  in  a  contest. 
On  an  oinochoe  (wine-jug)  is  a  scene  of  a  youth  playing 
the  lyre  to  three  admiring  ladies — a  beautiful  example  of 
the  grace  and  refinement  of  archaic  art.    It  should  be 


78  THIRDROOM 

noticed  that  across  this  scene  is  the  inscription  EVQItE- 
TO^  KAl^E,  "handsome  Euphiletos."  It  apparently  be- 
came the  fashion  with  Athenian  vase-painters  to  inscribe 
their  products  with  the  names  of  prominent  youths,  coupled 
with  the  word  Ka\6^.  This  picturesque  custom  has  definite 
archaeological  value,  for  it  brings  in  close  connection  the 
vases  bearing  the  same  favorite's  name,  not  only  because 
a  potter  is  apt  to  pay  this  compliment  to  a  favorite  youth 
on  a  number  of  his  vases,  but  also  because  vases  with  the 
same  /caXo?  name  are  naturally  chronologically  near  to 
one  another.  Sometimes  no  definite  name  is  given,  and 
the  inscription  reads  simply  6  Trat?  koXo^,  "the  handsome 
youth/' 

Case  L  Among  the  vases  in  Case  L  are  several  with  scenes  of 
horsemen  and  warriors  (one  left  unfinished),  while  two 
show  exploits  of  the  popular  hero  Herakles — his  contest 
with  the  sea  monster  Triton,  on  a  hydria  (fig.  47)  and  the 
bringing  of  the  Erymanthian  boar,  on  an  amphora.  The 
latter  scene  is  treated  with  great  vivacity  and  humor. 
Herakles  is  represented  as  holding  the  wild  boar  over  king 
Eurystheus,  who  in  his  terror  has  hidden  in  a  large  jar  and 
is  begging  Herakles  to  spare  him.  On  either  side  of  this 
group  are  Athena,  Herakles'  protectress,  and  his  friend 
lolaos.  On  the  top  shelf  are  three  kylikes  with  a  low  foot 
and  with  large  eyes  painted  on  each  side.  They  are  not 
Attic,  but  presumably  the  products  of  an  Ionian  school  of 
the  Cycladic  Islands. 

Case  A  In  Case  A  are  a  number  of  kylikes  (drinking-cups)  and 

lekythoi  (oil-jugs)  of  excellent  workmanship.  On  a  kylix 
on  the  top  shelf,  the  birth  of  Athena  from  the  head  of  Zeus 
is  rendered  with  charming  naivete.  Athena  is  depicted  as 
a  diminutive  figure  standing  fully  armed  on  the  lap  of  Zeus, 
who  is  quietly  sitting  on  a  folding  stool  and  holding  his 
sceptre.    On  either  side  is  a  birth-goddess  lifting  one  hand 


ARCHAIC  PERIOD 


79 


in  the  usual  gesture  of  surprise  or  joy.  On  another  kyHx 
Achilles  is  pursuing  young  Troilos  and  Polyxena.  He  has 
surprised  them  at  a  fountain  where  Polyxena  was  drawing 
water;  the  jar  she  was  filling  is  lying  on  the  ground  and  a 
frightened  rabbit  is  running  across  the  scene.  On  a  sky- 
phos  (a  deep  drinking-cup)  on  the  middle  shelf  are  two 
athletic  scenes — 
two  boxers  and 
two  wrestlers.  In 
each  case  trainers 
watch  the  contest 
to  see  that  the 
rules  are  properly 
observed.  The 
four  lekythoi  on 
the  same  shelf  are 
painted  with  great 
delicacy.  One, 
with  a  white 
ground,  shows  a 
spear-thrower  and 
a  jumper  carry- 
ing on  their  exer- 
cises to  the  music 
of  the  flute  (see 
cover  design).  On 

a  second,  Herakles  is  swinging  his  club  against  Queen  Hip- 
polyte,  while  the  other  Amazons  are  retreating  in  haste. 
The  subjects  on  the  other  two  are  Pholos  pouring  out  wine 
as  a  gift  to  his  guest  Herakles,  and  a  chariot  scene.  The 
kylikes  on  the  bottom  of  the  case  are  decorated  chiefly 
with  ornamental  designs  and  show  the  beautiful  use  made 
of  such  motives  by  the  Greek  vase-painters  (see  head- 
band, p.  ix). 


FIG.  47. 
HERAKLES 


HYDRIA 
AND  TRITON 


8o 


THIRD  ROOM 


Case  F  On  the  vases  in  Case  F  are  several  interesting  subjects — 

Theseus  fighting  the  Minotaur;  Herakles  struggHng  with 
the  Nemean  hon,  and  bringing  back  the  three-headed  dog 
Kerberos  from  the  Lower  World;  a  cock-fight;  and  a  war- 
rior carrying  a  wounded  companion  from  the  battlefield. 
The  latter  may  be  either  contemporary  Athenians  or  Ho- 
meric heroes.  The  vase  on  the  bottom  of  the  case,  with 
the  incurving  rim  and  lid,  is  of  uncertain  use,  for  this  shape 
has  not  been  definitely  identified  with  any  Greek  name. 

We  have  seen  that  the  important  part  played  by  ath- 
letics in  Athenian  life  is  reflected  also  in  the  vases.  The 
most  interesting  vases  in  this  connection  are  the  so-called 
Panathenaic  amphorai,  of  which  four  splendid  examples 

Case  N  will  be  found  in  Case  N.  We  know  from  Greek  literature 
that  such  vases  were  filled  with  olive  oil  and  given  as 
prizes  at  the  Panathenaic  games  held  at  Athens  every  four 
years.  On  one  side  is  Athena  (see  fig.  48),  always  repre- 
sented fully  armed,  standing  between  two  columns  on 
which  cocks  are  perched.  The  inscription  TON  AOENE- 
0EN  AGUON,  "from  the  games  at  Athens,"  is  painted 
alongside  one  of  the  columns.  On  the  other  side  is  the  con- 
test for  which  the  prize  was  awarded.  Our  specimens  show 
a  foot-race,  a  horse-race,  a  chariot-race,  and  a  pankration — 
a  favorite  sport  consisting  of  a  mixture  of  boxing  and  wres- 
tling (fig.  48).  All  are  executed  with  much  spirit.  The 
horse-race  is  indeed  a  masterpiece  in  the  representation  of 
rapid  motion. 

Besides  these  four  Panathenaic  amphorai,  there  are  two 
other  amphorai,  likewise  decorated  on  one  side  with  Athena 
and  on  the  other  with  an  athletic  contest,  but  of  a  different 
shape  and  without  the  inscription.  Such  vases  are  now  gen- 
erally explained  as  imitations  of  the  Panathenaic  amphorai, 
employed  for  general  household  use,  but  not  given  as 
prizes  at  the  games. 


ARCHAIC  PERIOD 


8l 


A  number  of  vases  with  scenes  executed  on  a  whitish 
ground  instead  of  the  red  clay  have  been  assembled  on  the 
top  shelf  of  Case  P.  Perhaps  the  most  attractive  is  a  little  Case  P 
lekythos,  lent  by  Albert  Gallatin,  showing  Herakles  seiz- 
ing the  Erymanthian  boar.  To  be  unencumbered  in  his 
task  he  has  hung  up  his  bow,  his  quiver,  his  club,  and  his 


FIG.  48.     PANATHENAIC  AMPHORAI 


mantle  on  the  trees.  An  amphora  on  the  third  shelf  from 
the  top  has  a  picturesque  scene  of  Dionysos  and  Ariadne 
surrounded  by  their  gay  retinue  of  Satyrs  and  Maenads. 
On  the  bottom  shelf  should  be  noticed  two  hydriai  with 
representations  of  Herakles  struggling  with  the  sea  mon- 
ster Triton,  treated  in  much  the  same  manner  as  on  the 
hydria  in  Case  L;  and  a  third  hydria,  on  which  is  a  repre- 
sentation of  a  marriage  procession,  with  the  bridegroom 
and  bride  in  a  chariot,  similar  to  scenes  on  vases  in  Cases 
Q  and  R.  For  the  vase-painter  adopted  the  same  methods 
as  the  sculptor;  he  devised  certain  types  and  worked  at 


82 


THIRD  ROOM 


these  with  astonishing  persistence.  Thus  we  find  even  in 
our  comparatively  small  collection  a  large  number  of  simi- 
lar representations,  similar  but  never  identical;  for  though 
the  Greek  artist  had  the  perseverance  to  keep  to  one  path 
until  he  reached  perfection,  he  had  none  of  the  machine- 
like instinct  for  exact  repetition. 

Case  Q  In  Case  Q  the  most  interesting  vases  are  (on  the  third 

shelf  from  the  top)  two  small  amphorai,  one  with  a  repre- 
sentation of  Hermes  stealing  the  oxen  of  Apollo,  the  other 
with  Herakles  about  to  throw  a  large  rock  on  Kyknos; 
and  a  hydria  with  a  scene  which  is  evidently  an  excerpt 
from  a  larger  picture  of  Troilos  and  Polyxena  fleeing  before 
Achilles.  Polyxena's  water-jar  is  lying  on  the  ground, 
broken  in  two.  On  the  small  shelf  above  this  is  a  minia- 
ture Panathenaic  amphora  with  Athena  on  one  side  and  a 
victorious  athlete  on  the  other,  probably  a  child's  toy.  A 
lekythos  on  the  top  shelf  has  a  rather  uncommon  subject 
— Helios,  the  sun  god,  driving  his  four-horse  chariot.  It 
should  be  noticed  how  naively  the  painter  solved  the  diffi- 
cult problem  he  undertook  of  representing  four  horses  in 
front  view,  by  simply  showing  two  in  profile  to  left  and  two 
in  profile  to  right. 

Case  R  In  Case  R  (left  half,  second  shelf  from  the  bottom)  are 

two  pieces  of  a  rare  shape,  known  as  onos.  They  are  not, 
strictly  speaking,  vases  at  all,  but  utensils;  for  they  fitted 
on  the  knee  and  were  used  by  women  in  carding  wool. 
On  the  bottom  of  the  case  are  several  amphorai  with 
chariot  scenes.  In  most  of  these  the  artist  was  content  to 
represent  his  horses  entirely  in  profile,  thus  avoiding  com- 
plications of  perspective;  but  on  one  he  has  tried  his  hand 
in  depicting  at  least  two  partly  in  front  view — with  as  yet 
not  very  successful  results.  Finally  must  be  mentioned 
a  large  vase  of  a  shape  called  loutrophoros  (bottom  shelf, 
right  half  of  case).    Such  vases  were  used  both  to  carry 


ARCHAIC      PERIOD  83 

water  for  the  nuptial  bath,  and  to  place  on  tombs  of  un- 
married persons — the  idea  apparently  being  that  the  de- 
ceased had  been  wedded  to  Death.  Our  vase  must  have 
been  used  for  the  latter  purpose;  for  it  is  decorated  with  a 
scene  of  funeral  rites,  with  the  dead  man  laid  out  in  state 
and  surrounded  by  mourners.  It  is  very  fragmentary  and 
has  been  largely  restored. 


FIG.   49.      EARLY  HAND-MODELED  GLASS 


Another  art  which  began  to  be  widely  practised  in  Gems 
Greece  in  the  sixth  century  is  that  of  engraving  gems. 
The  technical  inspiration  had  come  from  the  Orient,  from 
whom  Greece  relearned  (for  she  had  known  it  in  Minoan 
times)  the  working  of  hard  stones  with  a  wheel.  The 
home  of  the  art  was  probably  Ionia,  but  it  soon  spread  to 
the  rest  of  Greece,  and  was  eagerly  imitated  in  Etruria. 
The  stones  of  this  period  are  chiefly  of  the  scarab  shape, 
and  they  served  a  practical  purpose,  that  of  the  seal.  The 
subjects  represented  are  similar  to  those  we  find  in  sculp- 
ture, and  the  stylistic  advances  made  during  the  period 
are  reflected  in  the  gems.  We  find  here,  as  in  the  vases,  a 
highly  developed  sense  for  adapting  the  figures  to  the  space 
they  decorate,  but  on  the  gems  it  is  even  more  noticeable,  be- 
cause the  composition  is  compressed  into  so  small  a  space. 


84  T  H  I  R  D     R  O  O  M 

Our  collection  includes  examples  from  both  Greece  and 
Case  C  Etruria  (Case  C).  A  charming  specimen,  probably  from 
Ionia,  shows  Hermes,  draped,  holding  his  messenger-staff 
and  a  flower.  Several  good  gems  from  Cyprus,  forming 
part  of  the  Cesnola  Collection,  are  exhibited  here,  for  they 
are  clearly  products  of  pure  Greek  rather  than  Cypriote 
style.  On  one  is  represented  a  winged  female  figure,  hold- 
ing a  flower  in  the  characteristic,  dainty  posture  of  archaic 

art;  on  another  a  youth  is 
seizing  a  crouching  girl  by  the 
hair;  on  a  third  a  man  is 
standing  between  two  pranc- 
ing horses;  while  on  several 
others  are  animals  in  various 
attitudes. 

In  sixth-century  Greek 
tombs  are  frequently  found 
glass  vases  of  a  type  evidently 
FIG.  50.    GOLD  ORNAMENT     derived  directly  from  Egypt. 

A  beautiful  collection  is  shown 
Case  T  in  Case  T  (see  fig.  49).  These  vases  are  not  blown — the 
invention  of  blowing  glass  not  having  been  made  until 
shortly  before  the  Christian  era — but  modeled  by  hand 
over  a  core.  The  variegated  patterns  we  see  on  them 
were  apparently  produced  by  applying  threads  of  colored 
glass  on  the  surface  of  the  vase  while  it  was  still  hot,  in- 
corporating them  by  rolling,  and  then  dragging  the  sur- 
face in  different  directions  with  a  sharp  instrument.  Such 
vases,  chiefly  of  the  alabastron  and  oinochoe  shapes,  con- 
tinued in  Greek  lands  until  the  fourth  century;  and  as  no 
excavation  data  are  obtainable  for  our  specimens,  it  is 
not  certain  to  which  century  they  belong;  but  they  are 
here  exhibited  together  as  typical  products  of  this  period. 
Several  early  Egyptian  specimens  of  the  XVIII  to  XXVI 


Glass 


ARCHAIC     PERIOD  85 

dynasties  (about  1500-600  B.C.)  are  placed  with  them  to 
show  the  kind  of  prototypes  from  which  the  later  vases 
were  derived.  It  will  be  observed  that  the  Egyptian  ex- 
amples are  of  a  greater  brightness  and  purity  of  coloring 
than  the  later  products. 

In  conclusion,  a  few  pieces  of  jewelry  must  be  mentioned  Jewelry 
which  will  give  some  idea  of  the  delicate  work  done  in  this 
branch  of  art  during  the  archaic  period  (placed  in  the  Gold 


FIG.   51.      ETRUSCAN   GOLD  DISKS 


Room,  Floor  II,  Gallery  32).  Specially  noteworthy  are  a  Gallery 
pair  of  gold  disks,  used  as  buttons  or  earrings,  richly  dec-  ^  ^ 
orated  with  a  beautiful  design  of  a  rosette  surrounded  by 
lions'  heads  and  two  bands  of  smaller  rosettes  (fig.  51). 
Disks  of  this  type  occur  in  Etruscan  tombs  of  the  sixth  and 
fifth  centuries  B.C.  Other  fine  pieces  are  a  pendant  of  an 
earring,  in  the  form  of  a  double  hook;  a  pair  of  earrings 
from  Naxos;  a  beautiful  ornament  with  a  griffin's  head 
(fig.  50);  and  an  Etruscan  necklace  with  amber  inlay. 
Here  may  also  be  mentioned  a  number  of  Etruscan  ear- 
rings, necklaces,  and  other  ornaments,  which  can  be  dated 
to  the  period  from  the  end  of  the  seventh  to  the  beginning 
of  the  fifth  century  B.C. 

An  examination  of  these  pieces  will  show  a  great  differ- 
ence between  the  character  of  modern  and  ancient  jewelry. 


86 


THIRD  ROOM 


Nowadays  our  chief  concern  lies  less  in  the  beauty  of  the 
workmanship  than  in  the  quality  of  the  precious  stones 
introduced  in  jewelry.  The  ancients,  on  the  other  hand — 
at  least  during  the  best  periods  of  their  art — hardly  used 
any  precious  stones  at  all,  but  concentrated  their  energies 
on  working  the  gold  itself,  which  by  its  comparative  soft- 
ness and  pliability  peculiarly  lends  itself  to  such  treatment. 
The  result  was  that  they  obtained  a  marvelous  proficiency, 
especially  in  granulated  and  filigree  work;  and  many  of 
their  products  in  this  and  the  two  succeeding  centuries  can 
be  properly  appreciated  only  with  the  help  of  a  magnifying 
glass. 

On  the  west  wall  are  exhibited  photographs  illustrating 
the  methods  used  by  the  Greeks  in  their  pottery  and 
bronze  work.  They  give  early  Greek  representations  of 
the  potter's  wheel  and  kiln,  vase-painters  at  work,  and 
a  picture  of  a  bronze  foundry.  Several  photographs  of 
Greek  graves  show  vases  and  terracotta  statuettes  buried 
with  the  deceased,  a  custom  to  which  we  owe  most  of  the 
material  in  our  collection. 


FOURTH  ROOM 


FIRST  HALF  OF  V  CENTURY  B.C. 

By  the  end  of  the  sixth  century  almost  every  Greek 
state  had  disposed  of  its  tyrants  and  become  a  democracy. 
For  the  inevitable  had  happened;  the  tyrants  had  abused 
the  absolute  power  which  they  had  at  first  wielded  for  the 
good  of  the  state,  and  had  thereby  caused  their  own  down- 
fall. But  the  long  subjection,  under  one  ruler,  of  the  old 
oligarchic  and  democratic  parties  had  acted  as  a  great 
leveler,  and  the  path  for  the  establishment  of  democracies 
had  been  prepared. 

The  history  of  Greece  continues  to  be  the  history  of  a 
number  of  separate  states,  but  among  these,  two  emerge 
as  the  most  powerful  and  as  the  natural  leaders  of  the  rest. 
They  are  Sparta  and  Athens.  Much  of  subsequent  Greek 
history  is  taken  up  with  the  rivalries  between  these  two 
cities,  one  a  great  militaristic  state,  the  other  the  champion 
of  individuality  and  democracy;  but  at  the  beginning  of 
the  fifth  century,  a  great  danger  from  outside  overshad- 
owed all  else  in  importance.  This  was  a  threatened  in- 
vasion by  Persia.  Persia  had  become  the  most  powerful 
empire  in  the  East,  and  was  adding  one  country  after 
another  to  her  conquests.    The  Ionian  Greeks  of  Asia 

87 


88 


FOURTH  ROOM 


Minor  had  already  been  subjected  to  her  rule,  and  the  next 
step  was  to  send  an  expedition  to  Greece  proper  to  subdue 
it  also.  To  Persia,  no  doubt,  this  expedition  appeared  of 
little  moment;  it  seemed  an  insignificant  undertaking  for 
the  mighty  hosts  of  the  king  of  Persia  to  defeat  the  mis- 
cellaneous little  armies  of  a  few  Greek  states,  whose  local 
bickerings  and  rivalries  would  probably  prevent  their 
showing  a  united  front.  To  the  Greeks  the  outcome  must 
also  have  appeared  inevitable.  And  yet  the  unexpected 
happened.  At  Marathon,  Salamis,  and  finally  at  Plataea 
the  Greeks  proved  victorious  against  their  Asiatic  invaders 
and  vindicated  their  own  freedom  and  that  of  Ionia.  It 
was  one  of  the  most  glorious  wars  ever  fought;  for  the  issue 
was  clear  and  unmistakable.  A  mighty  and  prosperous 
empire  had  attacked  a  small,  free  country  with  the  sole 
purpose  of  bringing  it  under  subjection,  and  had  been  frus- 
trated of  its  purpose.  As  viewed  in  the  light  of  subsequent 
history,  this  struggle  assumes  even  greater  importance. 
We  know  now  that  with  the  liberties  of  Greece  European 
civilization  hung  in  the  balance.  If  Greece  had  been  de- 
feated, she  would  have  been  Asiaticized,  and  her  art,  litera- 
ture, and  philosophy,  which  were  to  mould  all  subsequent 
European  culture,  would  have  assumed  a  different  cast. 

The  Greeks,  though  they  could  not  have  realized  the 
momentousness  of  their  victory  for  future  Europe,  cer- 
tainly understood  its  importance  for  themselves.  They 
had  performed  a  feat  of  which  they  could  well  be  proud, 
and  the  whole  country  felt  the  exaltation.  Especially  in 
Athens,  which  had  played  the  most  important  part  in  the 
defeat  of  the  enemy,  feelings  ran  high.  Her  power  and 
prestige  were  further  increased  by  the  foundation  of  the 
Delian  confederacy,  with  herself  in  charge  of  the  combined 
fleets  and  moneyed  contributions  of  her  allies. 

Under  such  stimulus,  progress  in  art  was  rapid.    In  the 


FIG. 


52.     BRONZE  STATUETTE 
DISK-THROWER 


90  FOURTH  ROOM 

short  space  of  half  a  century  all  branches  of  art  rid  them- 
selves of  every  trace  of  archaism  and  developed  perfect 
freedom  of  expression.  This  development  took  place  dur- 
ing the  end  of  the  archaic  period  (the  beginning  of  the 
fifth  century)  and  through  the  transitional  period  (about 
480-450  B.C.),  which  represent 
the  epoch  we  are  now  considering. 
But  the  elevation  of  spirit  caused 
by  the  success  over  Persia  did  not 
result  merely  in  truer  modeling  and 
drawing.  An  entirely  new  spirit 
began  to  pervade  art.  Archaic 
art  had  had  refinement,  precision, 
and  a  beautiful  simplicity  and 
directness;  but  it  had  not  yet 
expressed  any  spiritual  quality. 
Now  a  new  note  of  idealism  was 
introduced,  which  henceforth  be- 
came the  most  significant  feature 
of  Greek  art.  It  showed  itself  not 
in  a  new  choice  of  subjects,  nor 
in  new  attitudes  and  expressions; 
but  rather  in  a  greater  conception 
and  a  larger  treatment  of  familiar 
types.  This  new  spirit  finds  its 
consummation  in  the  second  half 

FIG.   53.  DETAIL 

OF  DISK-THROWER  of  the  fifth  ceutury  B.C.;  but 
in  the  transitional  period  it  is 
already  manifest.  The  Olympia  pediment  groups  ^  are 
the  most  conspicuous  examples;  but  the  same  style 
will  be  found  in  many  a  smaller  and  more  modest  pro- 
duction. 

Our  collection  includes  as  yet  no  large  sculptural  pieces 

^  Casts  of  these  are  in  the  large  Cast  Gallery,  A  38,  on  the  first  floor. 


FIRST    HALF    OF    V    CENTURY     B.C.  9I 


belonging  to  this  period;  but  in  other  respects  it  is  repre- 
sentative, and  contains  a  number  of  first-rate  specimens. 

Among  the  bronzes  are  several  statuettes  of  great  beauty 
and  importance.  The  ear- 


liest, dating  from  about 
480  B.C.,  represents  an 
athlete  holding  up  a  diskos 
in  his  left  hand  (figs.  52 
and  53;  Case  B).  From 
this  position  the  diskos 
would  be  raised  above  the 
head  with  both  hands, 
then  swung  downward  and 
backward  preparatory  to 
the  final  throw-off.  A  de- 
tailed examination  of  this 
statuette  will  show  an 
interesting  mixture  of 
advanced  technique  with 
archaic  traits.  Though 
the  figure  is  beautifully 
and  simply  modeled,  some 
parts,  such  as  the  muscles 
of  the  arms  and  of  the 
calves,  are  unduly  accen- 
tuated: the  face  also  is 
still  distinctly  archaic  in 
character;  the  ears  are  of 
primitive  form  and  placed 

too  high;  the  hair  is  done  in  a  solid  mass  like  a  close-fit- 
ting cap,  the  individual  locks  having  probably  been  in- 
dicated by  incised  lines,  though  no  trace  of  these  remains 
now;  the  eyelids  are  too  heavy;  and  the  mouth  is  not  yet 
successfully  represented,  because,  though  the  archaic  smile 


FIG.  54.  BRONZE  STATUETTE 
YOUTH  SALUTING  A  DIVINITY 


Bronzes- 
Statuettes 


Case  B 


92  FOURTH  ROOM 

has  disappeared,  the  corners  of  the  mouth  are  now  turned 
down  too  far.  But  these  are  small  faults.  What  makes 
this  statuette  a  masterpiece  of  Greek  art  is  the  largeness 

of  conception  which  the  artist 
has  been  able  to  impart  to  it 
both  in  the  splendid  propor- 
tions of  the  figure  and  in  the 
beautiful  harmonious  pose.  It 
is  probably  of  Athenian  work- 
manship. 

Another  fine  statuette  of 
this  period  or  slightly  later — 
about  470  B.C.— represents  a 
youth  raising  his  right  hand 
to  his  lips  in  the  customary 
attitude  of  saluting  a  divinity 
(fig.  54;  Case  D).  Like  the 
disk-thrower  just  described,  it 
combines  an  advanced  tech- 
nique with  some  remnants  of 
archaism,  such  as  a  certain 
stifi'ness  of  pose,  an  exagger- 
ated broadness  of  the  shoul- 
ders, and  a  rather  primitive 
rendering  of  the  ears  and  hair. 
The  wonderful  dignity  of  the 
FIG.  55.  BRONZE  STATUETTE  pose  and  the  large  style  in 
jumper(?)  which  the  figure  is  executed 

suggest  that  it  may  be  a  copy 
of  a  full-sized  statue.  It  was  probably  intended  as  a 
votive  offering. 

A  statuette  of  an  athlete  leaning  forward  and  holding 
Case  G       both  arms  before  him  (fig.  55;  Case  G)  is  an  example  of 
the  beautiful  modeling  done  by  artists  toward  the  middle 


Case  D 


FIRST     HALF     OF     V     CENTURY     B.C.  93 

of  the  fifth  century  B.C.    Fortunately  the  surface  is  well 
preserved,  so  that  every  detail  can  be  appreciated.  The 
attitude  is  one  of  concentrated  action,  and  recalls  the  works 
of  Myron,  under  whose  influence  it  was  probably  created. 
What  the  action  was  is 
not  certain.    He  was  for- 
merly called  a  diver;  but 
it  is  more  probable  that  he 
is  represented  as  finishing 
a  jump,  for  his  position  is 
not  unlike  that  of  jumpers 
on  vase-representations. 

The  Greeks,  like  the 
Egyptians,  used  polished 
bronze  for  their  mirrors. 
They  had  several  types 
which  they  decorated  in 
various  ways.  A  popular 
form  during  the  period  we 
are  discussing  was  a  disk 
supported  on  a  stand  in 
the  shape  of  a  statuette, 
with  a  number  of  other 
ornaments  introduced.  A 
good  example  of  this  type, 
of  rare  completeness,  is  fig.  56.  bronze  mirror 
one  lent  to  the  Museum 

by  J.  Pierpont  Morgan  (Case  A).  The  stand  on  which  the  Case  A 
disk  is  mounted  is  in  the  form  of  a  female  figure,  probably 
Aphrodite,  holding  a  dove  in  one  hand.  On  each  side  of 
the  attachment  connecting  the  disk  with  its  stand  are  two 
flying  Erotes,  and  along  the  edge  of  the  disk  are  two  hounds 
pursuing  a  fox  and  a  rabbit;  a  Siren  forms  the  crowning 
member.    The  richness  of  this  decoration  can  best  be 


94  FOURTH  ROOM 

judged  when  it  is  compared  with  another  specimen  in  the 
same  case  (fig.  56),  in  which  some  of  the  ornamental  mo- 
tives have  been  lost,  and  which  looks  rather  bare  in  con- 
sequence. Of  two  other  mirrors  of  this  type  only  the 
statuettes  which  supported  them  are  now  preserved  (bot- 
tom of  case).  One  of  these  is  in  the  form  of  a  bearded 
male  figure  wearing  a  mantle,  perhaps  to  be  identified 
with  Zeus. 

By  the  middle  of  the  fifth  century  another  type  of  mirror 
became  popular,  namely,  a  disk  with  ornamented  cover, 
designed  to  be  held  in  the  hand.^  A  good  example  in  our 
collection  is  decorated  on  its  cover  with  a  relief  of  a  female 
head,  in  profile  to  right.  The  treatment  of  the  eye  belongs 
to  the  transitional  type,  being  neither  in  full  front  as  on 
archaic  reliefs,  nor  yet  wholly  in  profile.  The  mirror  is 
said  to  have  been  found  in  Akarnania. 
Bronzes—  In  the  same  case  are  exhibited  several  utensils  and  their 
parts,  notably  a  handle  of  a  vase  terminating  at  the  bottom 
in  a  Siren  (see  tail-piece,  p.  1 12),  which  is  a  beautiful  exam- 
ple of  the  decorative  work  of  this  period.  The  Siren  is 
represented  with  spread  wings  and  is  standing  on  an  acorn 
with  a  palmette  below  and  a  design  of  scrolls  on  each  side. 
Two  decorated  strainers  show  the  good  taste  in  household 
utensils. 

The  Greeks  did  not  always  rely  on  decorations  to 
beautify  their  utensils.  Sometimes  they  left  them  quite 
plain,  and  let  the  shape  and  the  finish  of  the  workmanship 
speak  for  themselves.  An  example  of  this  is  a  hydria  or 
water-jar  of  hammered  bronze,  undecorated  except  for  a 
Case  R  leaf-shaped  thumb-rest  on  the  handle  (Case  R).  The 
simple  elegance  of  the  form  with  its  dignified,  sturdy  pro- 
portions, and  the  quality  of  the  execution  make  it  a  superb 
specimen  of  Greek  bronze  work. 

1  For  a  terracotta  statuette  holding  such  a  mirror  see  No.  12.229.19. 


FIRST    HALF    OF    V    CENTURY     B.C.  95 

A  finely  modeled  greave  probably  dates  from  this  period 
(Case  E).    It  is  made  of  thinner  bronze  than  the  sixth-  Case  E 
century  examples  (see  p.  70),  and  has  holes  along  the  edge 
for  the  attachment  of  the  lining. 

Work  in  terracotta  during  the  later  archaic  and  transi-  Terra- 
tional  periods  is  represented  in  our  collection  by  several 
statuettes  and  reliefs,  also  placed  in  Case  E.    The  most 
important  is  a  beautiful  relief  belonging  to  the  so-called 


FIG.   57.     TERRACOTTA  RELIEF 
PHRIXOS  ON  THE  RAM 


"Melian"  class  (found  chiefly  in  the  island  of  Melos)  with 
a  representation  of  Phrixos  on  the  ram  (fig.  57).  Phrixos, 
a  fine,  youthful  figure,  has  seized  the  ram  by  the  horns  and 
thus  flies  to  safety  over  the  sea.  The  water  is  indicated 
by  wavy  lines  and  the  presence  of  two  fishes.  The  relief 
was  once  colored,  numerous  traces  of  white  paint  being 
still  preserved. 

Another  interesting  piece  of  rather  earlier  date  is  a  frag- 
ment from  a  "Locrian"  relief,  of  rough,  gritty  clay.  It 
represents  a  youthful,  beardless  figure  carrying  off  a  girl, 
who  has  one  arm  outstretched  to  indicate  fright,  while  in 
the  other  she  holds  a  cock.  The  subject  has  been  identified 
as  Hades  carrying  off  Persephone,  in  which  case  the  repre- 


g6  FOURTH  ROOM 

sentation  of  Hades  as  a  youthful,  instead  of  an  elderly, 
bearded  man,  is  unusual. 
Vases  In  the  field  of  vase-painting  the  supremacy  of  Athenian 

ware  was  now  completely  assured.  Other  fabrics  were 
practically  discontinued  and  Athenian  products  were  ex- 
ported to  all  parts  of  the  Greek  world.  The  stimulus  of 
supplying  a  world-wide  demand  naturally  reacted  on  the 
potters  of  Athens.  Highly  gifted  men  took  up  the  pro- 
fession, and  a  new  era  was  introduced  which  marks  the 
high-water  mark  of  Greek  vase-painting. 

With  the  general  advance  in  ability  it  was  inevitable 
that  the  vase-painters  should  fmd  their  opportunities  lim- 
ited by  the  old  black-figured  technique.  The  method  of 
scratching  in  all  detail  lines  was  clumsy  and  hampering; 
and  it  was  necessary  to  find  means  to  obviate  this  diffi- 
culty. This  was  done  by  simply  reversing  the  color  scheme, 
that  is,  the  background  was  painted  black,  and  the  figures 
were  reserved  in  the  color  of  the  clay.  The  process  seems 
to  have  been  as  follows:  A  preliminary  sketch  was  first 
made  on  the  clay  with  a  blunt-pointed  stick.  Then  the 
outlines  of  the  figures  were  painted  black  outside  the  spaces 
reserved  for  the  figures,  first  in  a  thin  line  to  determine  the 
contour,  then  in  a  broader  stripe.  All  detail  lines  could 
then  be  painted  in  black  or  diluted  black,  and  the  back- 
ground filled  in  with  black  varnish.  The  contour  stripe 
would  protect  the  varnish  from  running  into  the  figures. 
Purple  and  white  were  still  used  as  accessory  colors,  but 
much  more  sparingly  than  in  the  black-figured  technique; 
the  custom,  for  instance,  of  painting  the  flesh  of  women 
white  was  definitely  dropped.  The  potters  apparently 
felt  that  more  artistic  effects  could  be  obtained  by  restrict- 
ing the  color  scheme. 

It  will  easily  be  seen  how  much  more  delicate  and  flow- 
ing the  detail  lines  could  be  made  by  painting  them  than 


FIG.   58.     SCENE   FROM  A   KYLIX  SIGNED  BY  EUPHRONIOS 


98  FOURTH  ROOM 

when  they  had  to  be  laboriously  incised.  The  Greek  pot- 
ters made  full  use  of  this  new  opportunity,  and  the  delicacy 
and  sureness  of  hand  displayed  in  their  best  line-drawing 
still  arouse  universal  admiration. 
Vases—  The  introduction  of  the  "red-figured"  technique  prob- 
fig^ured  ^bly  took  place  as  early  as  about  525  B.C.  At  first  it 
naturally  went  on  side  by  side  with  the  "black-figured" 
style,  until  gradually  the  advantages  of  the  new  method 
were  so  apparent  to  everyone  that  the  older  style  fell  into 
disuse.  For  the  sake  of  convenience  we  have  included  all 
our  red-figured  examples  of  the  late  sixth  century  and  the 
first  half  of  the  fifth  century  in  this  room.  They  can  be 
divided  chronologically  into  three  classes:  those  of  the  early 
style  (about  525-500  B.C.),  those  of  the  ripe  archaic  style 
(about  500-480  B.C.),  and  those  of  the  early  fine  style, 
synchronous  with  the  transitional  period  (about  480- 
450  B.C. 

Throughout  this  epoch  the  vase-painters  were  solving 
one  by  one  the  problems  which  confronted  them,  at  first 
the  more  elementary  questions  of  correct  representation, 
and  later  more  and  more  complicated  problems  of  fore- 
shortening and  composition.  How  far  the  vase-painters 
in  this  progress  merely  followed  in  the  footsteps  of  the 
great  painters  of  the  period,  whose  works  are  now  com- 
pletely lost  to  us,  cannot  be  definitely  determined.  But 
that  the  potters  should  owe  a  great  deal  to  contemporary 
paintings  would  be  only  natural.  In  fact,  we  may  con- 
sider the  vase-representations,  in  a  small  and  limited  meas- 
ure, a  reflex  of  the  great  Greek  paintings,  of  whose  fame 
and  beauty  Greek  literature  is  full. 

Our  collection  includes  a  large  number  of  excellent  vases 
belonging  to  this  epoch,  so  that  we  can  follow  step  by  step 
the  steady  progress  made  by  the  Athenian  potters. 

On  the  earlier  red-figured  vases  the  style  is  still  essen- 


FIG.   59.     SCENE   FROM  A   KYLIX   SIGNED   BY  HIERON 


lOO 


FOURTH  ROOM 


tially  the  same  as  on  their  black-figured  contemporaries; 
that  is,  the  attitudes  of  the  figures  are  stiff  and  angular, 
the  draperies  fall  in  formal  folds  without  reference  to  the 
movements  of  the  bodies,  and  all  the  figures  are  scrupu- 
lously kept  in  profile  view.  The  eye  is  likewise  painted  as 
if  seen  in  front  view,  with  the  iris  and  pupil  in  the  middle  of 
the  eyeball,  just  as  it  was  on  the  black-figured  vases;  but 
the  distinction  in  shape  between  a  man's  and  a  woman's 
eyes  is  abandoned. 

This  early  style  is  illustrated  in  our  collection  by  the 
vases  placed  in  Case  U.  One  of  the  best  examples  is  the 
psykter  (wine-cooler)  in  the  center  of  the  middle  shelf, 
with  athletes  practising  jumping  and  the  hurling  of  the 
diskos;  among  them  is  a  boy  being  crowned  for  a  victory 
by  his  proud  trainer.  The  names  of  the  people  are  in- 
scribed. Two  kylikes  on  the  same  shelf,  with  representa- 
tions of  revelers  and  athletes,  and  an  amphora  on  the  bot- 
tom shelf  with  Neoptolemos  killing  the  aged  Priam,  are 
likewise  specially  noteworthy.  On  two  vases — a  kylix 
bearing  the  name  of  (D^l  A  +  ^  (top  shelf,  left)  and  a  krater 
with  masks  of  Seilenoi  between  large  decorative  eyes  (bot- 
tom shelf,  left) — the  old  black-figured  and  the  new  red- 
figured  techniques  are  used  side  by  side. 

At  the  beginning  of  the  fifth  century  a  great  change  took 
place  in  vase-painting,  as  in  other  branches  of  Greek  art. 
Constant  study  had  given  Greek  artists  a  more  thorough 
knowledge  of  the  human  body,  and  this  opened  up  a  new 
world  to  the  vase-painter.  He  now  began  to  try  his  hand 
in  many  new  directions.  He  learned  to  draw  the  human 
body  not  only  in  profile  but  in  three-quarters  view;  the 
folds  of  the  draperies  became  flowing  and  graceful;  and, 
above  all,  the  attitudes  of  the  figures  were  freer  and  more 
natural.  The  drawing  of  the  eye  in  profile  underwent  an 
interesting  development.    First,  the  iris  was  moved  from 


FIRST    HALF    OF    V    CENTURY  B.C. 


lOI 


the  center  of  the  eye  to  the  inner  corner;  then  this  corner 
was  opened;  and  finally  the  contours  of  the  eye,  of  the  iris, 
and  of  the  eyelid  were  drawn  correctly. 

There  is  perhaps  no  more  fascinating  period  in  Greek 
vase-painting  than  this  of  increased  and  yet  not  complete 
knowledge,  when  the  artists  had  acquired  great  technical 
skill  and  much  knowledge  of  structure  and  movement,  and 
were  yet  struggling  for  fuller  expression.  It  is  significant 
that  at  this  period  signatures 
of  artists  are  more  frequent 
than  at  any  other  time,  show- 
ing the  eager  competition  which 
was  going  on  in  the  potters' 
workshops. 1 

In  Case  L  will  be  found  sev- 
eral vases  bearing  such  signa- 
tures of  makers.  On  the  bot- 
tom shelf,  extreme  left,  is  one, 
from  the  factory  of  Euphro- 
nios  (i.e.  signed  EV0PONIO5: 
EPOI(E^EN),  "Euphronios 

made  it")  which,  though  sadly  mutilated,  ranks  among  the 
masterpieces  of  Athenian  vase-painting.  It  is  a  kylix  with 
a  representation,  in  the  interior,  of  Herakles  setting  out  for 
some  adventure,  with  a  small  companion  by  his  side  (fig. 
58);  and  on  the  exterior,  two  exploits  of  Herakles — his 
combat  with  the  sons  of  Eurytos,  and  his  attack  on  Busiris 
and  his  attendants.  Where  the  surface  is  well  preserved 
we  can  still  see  the  beautiful  wealth  of  detail  with  which 
these  scenes  were  painted.  We  do  not  know  the  name  of 
the  painter  of  these  scenes;  but  the  style  is  familiar  from 
other  works  bearing  the  trade-mark  of  Euphronios'  work- 

1  For  the  custom  of  potters  and  vase-painters  signing  their  work  see 
P-  77- 


RHYTON  IN  THE 
OF  TWO  HEADS 


Case  L 


I02 


FOURTH  ROOM 


shop,  and  for  want  of  a  better  name  he  is  generally  called 
the  Panaitios  master,  since  he  often  uses  Panaitios  as  a  /caXo? 
name.i  The  pictures  on  our  kylix  have  the  same  power 
and  swing  that  characterize  the  other  works  of  this  artist. 

From  the  factory  of  Hieron  (i.e.  signed  H I EPON  EP  01 E- 
:^EN)  we  have  two  good,  characteristic  examples,  with 
"conversation  scenes"  between  men  and  women,  and  men 


FIG.  6l.  SCENE  FROM  A  HYDRIA 
ACHILLES  AND  PENTHESILEA  (?) 


and  youths  (same  shelf,  center).  Both  are  well-balanced, 
harmonious  compositions.  The  one  with  the  scene  of  men 
and  women  shows  graceful  poses  and  beautiful  line-draw- 
ing for  the  draperies  (fig.  59).  But  they  lack  the  dramatic 
sense  and  individualization  of  the  work  of  the  Panaitios 
master.  The  name  of  the  painter  of  most  of  the  Hieron 
vases  we  know  to  have  been  Makron,  since  a  kylix  in 
Boston  of  the  same  general  style  is  signed  "  Hieron  made 
it,  Makron  painted  it." 

With  these  two  signed  Hieron  vases  have  been  placed 
three  other  kylikes  and  one  fragment  of  a  cup,  which  show 

1  For  the  use  of  Ka\6s  names  see  p.  78. 


FIRST    HALF    OF    V    CENTURY     B.C.  IO3 

the  same  characteristics  both  of  poses  and  features  (note 
especially  the  long,  flat  skull,  and  the  peculiar  profile  with 
drooping  under  lip  and  prominent  chin),  and  are  therefore 
probably  the  work  of  the  same  master.  The  subjects 
represented  on  them  are  Seilenoi  pursuing  Maenads,  a 
youth  watching  a  girl  dancing,  and  men  conversing. 
On  the  top  shelf  of  this  case  are  several  vases  modeled  in 


FIG.  62.  KRATER 
DIONYSOS  AND  A  SATYR 


the  form  of  human  heads  and  animals — a  common  practice 
of  the  period.  A  lekythos  with  a  beautiful  picture  of  the  god- 
dess Athena  and  a  kylix  with  a  Thracian  woman  are  specially 
noteworthy  for  their  fine  workmanship.  These  two  vases  and 
the  plastic  cup  between  them  (fig.  60)  have  been  connected 
with  the  painter  of  the  vases  signed  by  the  maker  B  rygos,  one 
of  the  most  dramatic  and  spontaneous  artists  of  his  time.^ 

Case  J  contains  several  of  the  finest  vases  in  our  collec-  Case  J 
tion.    One  is  a  hydria  with  a  representation  of  a  Greek 

^  See  discussion  in  J.  D.  Beazley,  Attic  Red-figured  Vases  in  American 
Museums. 


I04  FOURTH  ROOM 

warrior  plunging  his  lance  into  an  Amazon,  perhaps  to  be 
identified  with  Achilles  and  Penthesilea  (fig.  6i).  She  has 
received  a  wound  under  her  right  breast  and  is  sinking 
down  under  the  fatal  blow.  The  long-limbed  graceful  fig- 
ures, the  vitality  of  the  composition,  and  the  beautiful 
finish  of  all  details  show  that  this  is  the  work  of  a  distin- 
guished master,!    On  the  beautiful  column  krater  (fig.  62), 

placed  next  to  the  hydria, 
Dionysos  is  represented 
walking  slowly,  in  dignified, 
almost  pompous,  compo- 
sure, followed  by  an  at- 
tendant Satyr.  The  god  is 
evidently  going  to  an  im- 
portant banquet,  and  even 
the  wild  Satyr  has  caught 
the  spirit  of  the  occasion, 
and  is  carrying;  his  master's 

FIG.  (33.   SCENE  FROM  A  KYLIX  ,  . 

SIGNED  BY  HEGEsiBouLos       f^ool,  his  wiue-cup,  and  his 

ivy-branch  with  a  respect- 
ful, subdued  air.-  The  other  vases  in  this  case  consist  of 
four  "Nolan"  amphorai — so  called  because  a  large  number 
of  this  shape  have  been  found  at  Nola  in  Campania — the 
neck  of  a  large  loutrophoros  with  representations  of  war- 
riors, and  a  lekythos^  with  a  beautiful  picture  of  Nike 
carrying  an  incense  burner. 
Case  K  In  Case  K  are  chiefly  vases  of  smaller  dimensions.  A 

1  For  its  attribution  to  the  "painter  of  the  Berlin  amphora"  see  Beaz- 
ley,  op.  cit.,  and  Journal  of  Hellenic  Studies,  xxxi,  191 1,  p.  285. 

2  This  vase  has  been  attributed  by  Beazley  to  the  "Pan  Master,"  the 
painter  of  the  famous  bell-krater  in  the  Boston  Museum,  on  which  Pan  is 
pursuing  a  shepherd  on  one  side  and  Artemis  shooting  at  Aktaeon  on  the 
other;  see  op.  cit. 

3  This  lekythos  has  been  assigned  by  Beazley  to  the  Dutuit  master, 
from  its  strong  resemblance  to  a  vase  in  the  Dutuit  Collection  in  Paris; 
see  op.  cit. 


FIRST    HALF    OF    V    CENTURY     B.C.  IO5 

kylix,  on  the  middle  shelf,  bears  the  signature  of  the  pot- 
ter Hegesiboulos,  EVE^IBOAO^  EPOIE^EN  (fig.  63).  In 
the  interior  is  an  old  man  going  for  a  walk  with  his  dog, 
while  on  the  exterior  are  scenes  of  revelers.  Unfortunately 
the  cup  is  discolored  through  burning.    A  little  pyxis  or 
toilet-box  has  a  scene  from  the  interior  of  a  Greek  house; 
a  lady  appears  to  be  calling  on  her 
friends,  and  finds  them  busily  oc- 
cupied spinning  and  working  wool. 
On  the  cover  of  this  vase  is  an 
attractive  palmette  pattern.  A 
skyphos  has  a  lively  representation 
of  Theseus  pursuing  the  Minotaur. 
On  the  bottom  shelf  is  a  kylix  with 
a  contest  of  warriors,  painted  with 
a  delicacy  and  refinement  approach- 
ing the  work  of  a  miniaturist.  On 
an  oinochoe  a  man  is  represent- 
ed worshiping  (or  reproving!)  an 
image  of  Athena. 

In  Case  N  two  fine  vases  de-  amphora     ^^^^  ^ 

.   .         .  ^       •       1  HERAKLES  PURSUED  BY 

serve  special  notice.   One  is  a  large  apollo 
bell-krater,  unfortunately  rather 

fragmentary,  with  a  representation  of  warriors;  the  other 
is  an  amphora,  of  splendid  preservation,  with  Herakles 
carrying  off  the  Delphic  tripod  and  Apollo  swiftly  pursuing 
the  robber  (fig.  64).  The  two  are  evidently  by  the  same 
master,  as  can  be  seen  by  the  strongly  individual  types  of 
faces.  This  master  combined  largeness  of  style  with  fin- 
ished draughtsmanship.  He  is  probably  the  painter  of 
the  vases  signed  by  the  maker  Kleophrades.^ 

An  amphora  in  the  same  case  has  a  scene  of  considerable 

^  See  Beazley,  Journal  of  Hellenic  Studies,  xxx,  1910,  pp.  38  flf.  and 
xxxvi,  1916,  pp.  123-125;  and  op.  cit. 


io6 


FOURTH  ROOM 


Cases 
Q  and  S 


historical  interest.  On  it  a  Greek  warrior  is  represented 
attacking  with  his  long  spear  a  Persian  soldier,  who  holds 
a  sword  and  a  bow.  It  will  be  remembered  that  it  was  to 
the  superiority  of  Athenian  spearsmen  over  Persian  arch- 
ers that  the  Greek  victory  at  Marathon  was  chiefly  due. 
In  Cases  Q  and  S  on  the  west  wall  and  in  Case  E  by 

the  window  will  be 
found  other  vases  of 
this  period.  The  six 
vases  on  the  upper 
shelves  of  Case  S 
(one  lent  by  Albert 
Gallatin)  appear  to 
be  the  work  of  one 
master.^  The  pic- 
tures on  them  are 
all  vivacious  and  the 
figures  interesting 
for  their  individual- 
ization; but  the  style 
is  somewhat  man- 
nered, and  the  draw- 
ing lacks  precision 
and  finish.  On  the  bottom  of  this  case  is  a  krater  with  a 
scene  of  a  young  warrior  putting  on  his  armor,  surrounded 
by  his  family.  The  sorrowing  look  of  the  old  father  sug- 
gests that  the  son  is  starting  for  battle.  In  Case  Q  are 
two  kraters  specially  noteworthy  for  their  subjects.  One 
has  a  representation  of  Herakles  killing  Busiris  and  his  at- 
tendants; the  other  has  a  scene  of  women  gathering  apples; 
here  an  interesting,  but  not  very  successful,  experiment 
was  made  of  painting  one  of  the  figures  in  black  glaze. 

1  Called  by  Beazley  and  others  the  Penthesilea  Master;  see  Beazley, 
op.  cit. 


FIG.  65.  KRATER 
BATTLE  OF  GREEKS  AND  AMAZONS 


FIRST    HALF    OF    V    CENTURY     B.C.  IO7 

By  the  transitional  period  the  vase-painter  had  eman- 
cipated himself  from  all  elementary  difficulties  and  was 
ready  to  attack  fresh  ones.  Conscious  of  his  new  powers, 
he  liked  to  set  himself  difficult  tasks,  and  to  represent  his 
figures  in  complicated  attitudes.  Moreover,  he  had  ac- 
quired new  ideas  in  composition.    Instead  of  always  put- 


FIG.  66.  SCENES  FROM  A  KRATER 
BATTLE  OF  LAPITHS  AND  CENTAURS 
BATTLE  OF  GREEKS  AND  AMAZONS 


ting  his  figures  on  one  level,  he  placed  some  higher,  some 
lower,  the  ground  being  indicated  by  undulating  lines. 
This  innovation  is  said  to  have  been  introduced  by  the 
great  painter  Polygnotos,  and  it  is  very  probable  that  the 
potters  copied  this  point  from  contemporary  paintings. 

Another  important  quality  which  distinguishes  the  vases 
of  this  period  from  those  of  preceding  times,  is  a  new 
nobility  and  grandeur  with  which  the  figures  are  invested. 
They  are  conceived  in  a  larger,  more  idealistic  spirit,  which 
places  them  on  a  different  level  from  the  undifferentiated 
types  of  archaic  art.    It  is  the  same  spirit  which  may  be 


Vases — 
Red- 
figured— 
Early  Fine 
Style 
(transi- 
tional 
period) 


io8 


FOURTH  ROOM 


observed  in  contemporary  sculpture,  and  which  was  to 
find  its  final  fruition  in  the  Periklean  works  of  the  next 
epoch. 

This  period  is  illustrated  in  our  collection  by  a  number 
of  vases,  placed  chiefly  in  Case  O  on  the  west  wall,  and 
by  two  magnificent  kraters  in  Cases  C 

fand  F.  The  latter  show  the  enterprise 
and  boldness  of  these  artists  to  an  unus- 
ual degree.  The  subjects  represented — 
combats  of  Lapiths  and  Centaurs  and 
of  Greeks  and  Amazons  (figs.  65  and  66) 
— gave  opportunity  for  depicting  every 
kind  of  foreshortening  and  contortion. 
In  one  case  the  painter  has  gone  so  far 
as  to  represent  an  Amazon  on  horseback 
in  full-front  view.  In  this,  as  in  several 
other  instances,  he  came  to  grief;  but 
the  fact  that  he  dared  try  such  problems 
— never  before  attempted  in  the  history 
of  art — shows  the  progressive  spirit  of 
the  times. 

Besides  this  red-figured  technique, 
that  of  painting  on  a  white  background 
was  likewise  developed  during  the  first 
half  of  the  fifth  century  B.C.  The  earli- 
est examples  show  an  interesting  combi- 
nation of  the  black-figured  and  red-figured  styles,  some 
parts  being  painted  solid  black  with  details  incised,  while 
others  are  left  in  the  white  ground,  with  details  painted  in 
black.  Our  collection  includes  two  excellent  examples  of 
this  phase  (bottom  of  Case  M).  One  is  a  lekythos  on 
which  is  a  figure  of  Dionysos  with  a  goat  and  a  small 
Satyr,  the  other  a  lekythos  with  a  scene  taken  from  the 
legend  of  Perseus  and  Medusa  (fig.  67).    Perseus  has  just 


FIG.  67. 

WHITE  LEKYTHOS 
PERSEUS  ESCAPING 
WITH  THE  HEAD  OF 
MEDUSA 


FIRST    HALF    OF    V    CENTURY     B.C.  lOQ 

cut  off  the  head  of  the  monster  and  is  making  his  escape 
as  quickly  as  possible,  carrying  his  prize  safely  in  a  bag; 
from  the  neck  of  Medusa  springs  the  winged  horse  Pegasos. 
The  rapid  flight  of  Perseus  and  the  death  agony  of  Medusa 
are  depicted  with  wonderful  realism. 


FIG.  68.     WHITE   PYXIS  AND  SCENE   FROM  PYXIS 
JUDGMENT  OF  PARIS 


The  next  period,  in  which  the  whole  scene  is  drawn  in 
black  glaze  lines,  is  illustrated  on  several  small  lekythoi, 
all  with  single  figures  (upper  shelf).  The  most  interesting 
is  a  young  warrior  who  appears  to  be  represented  as  cutting 
off  a  lock  of  his  hair  as  a  dedicatory  offering. 

Soon  the  vase-painters  got  tired  of  the  rather  thin  effect 
obtained  by  restricting  themselves  to  black  lines  on  the 
white  ground;  and  to  liven  up  their  pictures,  they  intro- 


I  lO 


FOURTH  ROOM 


Case  V 


Engraved 
Stones 


Ccuc  H 


duced  solid  washes  in  a  variety  of  colors.  Besides  several 
lekythoi  on  the  bottom  of  this  case  (see  fig.  69),  this  tech- 
nique is  best  shown  in  a  pyxis  (fig.  68),  one  of  the  finest 
of  its  kind  known  (placed  in  Case  V).  The  representation 
on  it  is  the  famous  judgment  of  Paris,  at  which  Aphrodite 
won  the  prize  for  beauty.  The  scene 
is  treated  in  a  light,  humorous  vein, 
with  many  individual  touches,  which 
give  it  a  special  charm.  The  colors 
used  are,  besides  the  black  glaze,  di- 
luted in  places,  brown,  purple,  and 
white.  The  effect  of  the  whole  is  dis- 
tinctly pictorial  and  may  give  us  some 
idea  of  the  appearance  of  the  larger 
paintings  of  the  period. 

The  art  of  engraving  stones  at  this 
period  is  represented  in  our  collection 
by  several  examples,  chiefly  from  Cy- 
prus (Case  H).  The  most  important 
is  a  carnelian  with  a  beautiful  represen- 
tation of  Eros  carrying  oflF  a  girl  in  his 
arms,  one  of  the  finest  ancient  gems 
known.  Both  in  composition  and  in 
execution  it  is  a  masterpiece  of  Greek 
art  (fig.  71,  center).  Its  style  places  it 
in  the  early  fifth  century.  Other  good 
stones,  likewise  from  Cyprus,  are  a 
chalcedony  with  Hades  and  Persephone  (fig.  71,  right),  a 
plasma  with  a  youth  and  his  dog,  and  a  carnelian  with 
Herakles.  An  agate  scarab,  on  which  is  engraved  Capa- 
neus  struck  by  Zeus's  thunderbolt,  is  a  careful  Etruscan 
work  of  the  middle  of  the  fifth  century.  In  accordance 
with  the  Etruscan  custom  the  beetle  on  the  back  of 
the  scarab  is  carefully  worked,  and  the  edge  of  the 


FIG.  69. 
WHITE  LEKYTHOS 
AMAZON  WITH  A 
SLING 


FIRST     HALF     OF     V     CENTURY     B.C.  Ill 


base  on  which  it  stands  is  decorated  with  an  ornamental 
pattern. 

The  goldsmith's  art  of  this  period  is  illustrated  in  our  jewelry 

examples,   both  Callery 

11  -11  C  3- 

cellent  illustra- 
nearly  the  work 
men  sometimes 
higher  arts,  both 
and  in  finish  of 
is  a  gold  earring 
a  Siren  playing 
70),  her  head 
large  palmette- 
tended  to  cover 
ear.  The  hook 
suspended  is 
the  back.  The 
excellent,  with 
no  detail  missing,  which  is  remarkable,  considering  that 
the  figure  is  made  of  such  thin  gold  that  it  could  easily  be 
crushed  between  the  fingers. 


FIG.  71.     IMPRESSIONS  OF  ENGRAVED  WORK 

The  other  piece  is  a  gold  ring,  found  in  Macedonia,  with 
the  figure  of  a  nude  girl  engraved  on  its  bezel  (fig.  71,  left). 
She  is  represented  in  dancing  posture  with  head  thrown 
back  and  arms  raised.  Though  worked  on  so  small  a  scale, 
the  figure  shows  a  simplicity  and  largeness  of  style  which 


collection  by  two 
of  which  are  ex- 
tions  of  how 
of  Greek  crafts- 
approached  the 
in  conception 
execution.  One 
in  the  form  of 
upon  a  lyre  (fig. 
surmounted  by  a 
ornament  in- 
the  lobe  of  the 
by  which  it  was 
still  preserved  at 
preservation  is 


FIG.  70.    GOLD  EARRING 


I  12 


FOURTH  ROOM 


relate  it  to  big  sculptural  pieces  rather  than  to  other  minia- 
ture works. 

In  order  to  reach  the  Fifth  Room  the  visitor  must  retrace 
his  steps  to  the  Third  Room,  pass  across  the  Central  Hall 
to  the  Sixth  Room,  and  turn  to  the  left  (see  plan  on  p.  xi). 
Eventually,  when  Wing  K  is  opened,  the  communication 
between  the  Fourth  and  Fifth  Rooms  will  be  much  more 
direct. 


FIFTH  ROOM 
SECOND  HALF  OF  V  CENTURY  B.C. 

The  full  fruition  of  the  great  events  which  took  place 
in  the  early  fifth  century  did  not  come  until  the  middle  and 
second  half  of  that  century.  Especially  in  Athens  epoch- 
making  changes  had  taken  place.  She  had  founded  an 
empire  by  converting  the  Delian  confederacy  into  a  league 
of  states  subject  to  herself,  with  its  fleet  an  instrument  of 
her  power  and  its  treasury  at  her  disposal.  Increase  of 
trade  had  brought  her  additional  wealth,  which  meant 
more  leisure  and  greater  opportunities  to  many  of  her  citi- 
zens. The  state  was  further  democratized  so  that  every 
citizen  took  a  direct  share  in  the  government  of  his  coun- 
try; and  this  in  its  turn  raised  the  general  intelligence  of 
the  community.  Thanks  to  the  rapid  progress  of  the  pre- 
ceding period,  Greek  art  had  now  reached  its  maturity. 
The  occasion  for  great  achievements  had  come,  and  with 
it  fortunately  came  great  men.  Perikles  rose  as  a  distin- 
guished statesman,  as  a  leader  of  the  people,  and  as  a 
patron  of  the  arts.  The  rebuilding  of  the  temples  and 
porticoes  sacked  by  the  Persians  was  undertaken  on  a 
magnificent  scale,  and  Pheidias,  the  greatest  of  Greek 
sculptors,  was  made  chief  overseer  of  all  artistic  under- 

«I3 


114  FIFTH  ROOM 

takings.  The  most  famous  of  these  buildings  is  the  Par- 
thenon, which  even  now,  in  its  mutilated  and  fragmentary 
condition,  is  still  accepted  as  the  highest  standard  of  art, 
both  in  architecture  and  in  sculpture.  In  Pheidias,  indeed, 
the  high  promise  of  Greek  art  found  its  fulfilment.  He  ex- 
pressed in  his  work  the  ideal- 
ism of  his  age,  and  to  dignity 
and  simplicity  of  conception  he 
added  a  perfect  technique.  But 
though  he  was  the  greatest  ex- 
ponent of  the  idealistic  art  of 
his  age,  he  does  not  stand  alone. 
Of  many  of  his  contemporaries 
we  now  know  little  more  than 
their  names,  but  the  praise  be- 
stowed on  them  by  the  people 
who  saw  their  works  makes  us 
realize  our  loss.  And  many  a 
nameless  artist  or  artisan  whose 
work  is  preserved  to  us  today 
shows  in  spirit  and  execution 
how  widespread  the  influence  of 
the  great  masters  had  become. 
Nor  was  artistic  production  con- 

FIG.  72.   BRONZE  STATUETTE 

ATHLETE  unQQ.  to  Athcns.  Polykleitos, 

the  Argive  sculptor,  was  hardly 
second  in  fame  to  Pheidias.  The  differentiation,  in  fact, 
of  Greek  art  into  a  number  of  separate  schools  continued 
to  be  one  of  its  marked  characteristics,  giving  it  variety 
and  life. 

The  Peloponnesian  war,  the  life-and-death  struggle  be- 
tween the  two  great  rivals,  Sparta  and  Athens,  broke  out 
in  431  B.C.,  and  was  not  brought  to  a  conclusion  until  the 
year  404.    It  resulted  in  the  breakdown  of  the  Athenian 


SECOND     HALF    OF     V     CENTURY     B.C.  II5 

empire  and  the  reduction  of  Athens  to  a  second-rate  power. 
The  effect  which  this  change  had  on  art  will  be  seen  in  the 
succeeding  epoch;  for  the  influence  of  historical  events 
often  takes  time  to  fmd  expression,  and  just  as  the  Peri- 
klean  age  is  the  artistic  echo 
of  the  war  for  Greek  Hberty, 
so  the  fourth-century  art  is 
to  some  extent  moulded  by 
the  events  of  the  last  quarter 
of  the  fifth  century. 

The  marble  sculptures  of 
this  period,  of  which  the  Mu- 
seum owns  several  excellent 
examples,  are  exhibited  in  the 
Central  Hall  and  are  described 
on  pp.  211  ff.  Bronze  work 
is  also  well  illustrated  in  our 
collection. 

Among  the  statuettes  the 
most  important  is  one  of  a 
youth  (fig.  72),  found  in  Cy- 
prus, but  clearly  a  product  of 
pure  Greek  art  (Case  M).  In 
all  its  technical  characteristics 

FIG.  73.     BRONZE  STATUETTE 

It  shows  a  close  affinity  to  the  praying  boy 

style  of  Polykleitos.  Both  the 

pose  and  the  proportions  of  the  body — such  as  the  square 
build,  the  short  thighs,  and  the  flatness  of  the  abdominal 
region — are  characteristics  of  that  sculptor,  as  are  also  the 
shape  of  the  skull  and  the  treatment  of  the  hair  and  face 
(see  the  marble  head  in  the  vestibule,  p.  258).  The  execu- 
tion is  excellent,  the  modeling  being  fresh  and  vigorous, 
and  all  details,  such  as  nails,  knuckles,  and  veins  being 
rendered  with  great  care. 


ii6 


FIFTH  ROOM 


A  youth  in  a  praying  attitude  is  probably  a  votive  figure 
of  the  same  period  (fig.  73;  Case  D).  The  influence  of 
Polykleitos  is  apparent  in  the  form  of  the  shoulders  and 
the  arms,  but  the  rendering  of  the  chest  and  the  abdomen, 
with  deep  instead  of  shallow  pelvic  curve,  is  pre-Polyklei- 
tan.  The  splendid  way  in  which  the  body  is  modeled 
would  point  to  Greek  workmanship. 

Several  other  bronze  statuettes  of  this  period  will  be 
found  in  Case  K,  upper  shelf;  with  them  is  shown  a  fme 
pair  of  handles  from  a  large  volute  krater.  In  the  same 
case  has  also  been  placed  a  marble  fragment  of  an  archi- 
tectural ornament.  It  is  a  piece  of  egg-and-dart  moulding 
(for  a  restoration  see  head-band,  p.  113)  from  the  Erech- 
theion,  the  building  which  probably  best  illustrates  the 
refinement  of  Greek  decoration.  The  Greeks  brought  the 
development  of  architectural  ornament  to  a  great  degree 
of  perfection.  They  knew  how  to  attain  both  simplicity 
and  richness  of  effect,  and  they  lavished  great  care  on  the 
execution  of  every  detail.  It  is  of  course  impossible  to 
obtain  large  examples  of  such  architectural  ornaments  at 
the  present  time,  but  even  this  small  fragment  will  give  a 
better  appreciation  of  the  delicacy  and  crispness  of  Greek 
work  than  larger  and  more  representative  casts. 

We  have  already  referred  in  the  preceding  section  to  the 
type  of  mirror  consisting  of  a  polished  bronze  disk  with 
ornamented  cover.  Several  fine  specimens  of  this  period 
are  included  in  our  collection  (Case  A).  They  are  indeed 
magnificent  examples  of  repousse  relief,  showing  the  deli- 
cacy and  precision  of  workmanship  which  the  Greeks 
attained  in  this  difficult  art.  On  the  cover  of  one  is  a 
female  head  in  three-quarters  front,  with  long,  wavy  hair 
(fig.  74).  The  nobility  of  the  features  shows  that  this  is 
an  ideal  head,  not  a  portrait,  and  probably  represents  one 
of  the  greater  divinities.    Among  these  Aphrodite  is  the 


SECOND     HALF     OF     V     CENTURY     B.C.  II7 

most  likely  to  be  the  subject,  both  from  her  appropriate- 
ness to  serve  as  the  decoration  of  a  mirror  and  from  the 
action  of  the  right  hand,  which  holds  a  lock  of  hair,  a  char- 
acteristic of  some  representations  of  that  goddess.    In  both 


FIG.   74.      BRONZE  MIRROR 


execution  and  preservation  this  is  one  of  the  most  beauti- 
ful of  all  known  Greek  mirrors. 

Another  mirror  of  exceptional  beauty  is  ornamented  with 
the  head  of  a  maiden  in  full  front,  with  her  hair  loose  and 
flying  about  her  head  in  wavy  locks  (fig.  75).  In  the 
absence  of  definite  attributes  it  is  impossible  to  identify 
this  head  with  any  special  goddess.  Heads  of  the  same 
general  character  with  flying  hair  begin  to  appear  on  the 
coins  of  various  Greek  cities  about  the  end  of  the  fifth 


ii8 


FIFTH  ROOM 


century,  where  they  are  associated  with  different  divinities 
and  local  nymphs,  according  to  the  place  for  which  they 
were  struck. 

Occasionally  the  mirror  cover  was  ornamented  not  only 
on  the  outside  with  a  relief,  but  on  the  inside  with  an 
engraved  scene.  Such  is  the  case  in  one  of  our  examples. 
To  show  both  the  relief  and  the  engraving,  the  relief  has 
had  to  be  mounted  on  a  separate  modern  disk.  The  relief 
shows  a  male  figure,  identified  by  the  lion's  skin  tied  under 
his  throat  as  either  Herakles  or  Theseus,  in  violent  struggle 
with  a  woman;  though  fragmentary,  enough  remains  to 
show  the  beauty  of  the  modeling,  and  the  fine  spirit  of  the 
composition.  The  engraved  design  represents  Herakles 
and  Atlas.  Herakles  has  placed  his  club  and  quiver  on 
the  ground,  and  is  on  the  point  of  taking  the  weight  of 
heaven  from  Atlas. 

The  fourth  mirror  of  this  period  has  on  its  cover  an  a 
jour  relief  of  a  conventional  floral  pattern  (see  tail-piece, 
p.  131).  Both  the  design  and  the  execution  are  very  fine. 
Every  leaf  and  petal  is  modeled  minutely,  but  without  im- 
pairing the  freedom  and  animation  of  the  whole. 

A  round  ornament  with  the  contest  of  a  youth  and  a 
griffin  is  another  good  example  of  bronze  repousse  relief. 
The  strain  of  the  combat  is  well  represented  in  the  tense- 
ness of  the  muscles,  and  the  composition  is  skilfully  de- 
signed to  fill  the  round  space  allotted  to  it. 

In  the  same  case  have  been  placed  a  number  of  other 
bronze  decorative  pieces  and  a  few  utensils;  among  the 
latter  is  a  strigil,  the  instrument  used  by  Greek  athletes  for 
scraping  the  dust  and  oil  off  their  bodies. 

One  of  the  most  popular  games  in  Athens  appears  to 
have  been  the  "  kottabos."  We  see  it  represented  in  many 
vase-paintings,  and  a  number  of  specimens  of  the  imple- 
ments used  to  play  it  have  been  preserved;  one  of  these  is 


SECOND     HALF     OF     V     CENTURY     B.C.  II9 

included  in  our  collection  (East  Wall,  Pedestal  R).  It 
consists  of  a  shaft  terminating  at  the  top  in  a  male  figure 
balancing  a  disk,  while  another  disk  is  inserted  about  half- 
way up  the  shaft.  The  object  of  the  game  was  to  throw 
a  small  quantity  of  wine  from  a  cup  at  the  top  disk,  dis- 


FIG.   75.      BRONZE  MIRROR 


lodge  it,  and  make  it  fall  on  the  lower  disk,  thereby  pro- 
ducing a  resounding  noise.  The  cup  from  which  the  wine 
was  thrown  was  of  the  kylix  shape  and  was  held  by  insert- 
ing the  first  finger  in  one  of  the  handles.  The  game  ap- 
pears to  have  been  in  vogue  from  the  sixth  to  the  third 
century  B.C.  Our  implement  can  be  dated  to  the  fifth 
century  from  the  style  of  the  statuette. 

A  fme,  tall  candelabrum,  of  Etruscan  execution,  is  placed 


I20 


FIFTH  ROOM 


Terra- 
cottas 


Case  A 


against  the  south  wall  on  Pedestal  U.  It  consists  of  a 
slender  shaft,  surmounted  by  a  short,  moulded  stem  on 
which  is  the  figure  of  an  athlete.    From  similar  examples 

we  know  that  between  the 
statuette  and  the  moulded 
stem  there  were  originally 
spikes  for  the  attachment  of 
candles.  How  the  candles 
were  fixed  on  such  spikes  is 
illustrated  on  an  Etruscan 
painting. 1 

Two  terracotta  pieces  of  this 
period  require  special  mention. 
One  is  a  fragment  of  a  draped 
female  figure  (fig.  76),  measur- 
ing in  its  present  condition 
17^^  inches  (45  cm.)  in  height 
(Case  H).  It  is  thus  much 
larger  than  the  ordinary  statu- 
ette; its  dignity  and  a  certain 
grandeur  of  conception  sug- 
gest that  it  may  have  served 
originally  as  a  sculptor's  model 
for  a  full-size  statue. 

The  other  piece  is  a  small 
mould  for  the  lower  part  of  a 
male  figure  (Case  A).  The 
modeling  is  excellent,  every 
detail  being  rendered  with 
great  care,  and  there  is  the  same  largeness  of  treatment  as 
in  the  best  works  of  a  more  ambitious  nature.  On  the 
back  of  the  mould  can  be  seen  the  finger-marks  of  the 
potter,  impressed  while  the  clay  was  still  soft. 

^  See  Daremberg  et  Saglio,  Dictionnaire  des  Antiquites,  I,  fig.  1086. 


fig.  76.  terracotta 

fragment 
sculptor's  model(?) 


SECOND     HALF    OF     V     CENTURY     B.C.  121 


By  the  middle  of  the  fifth  century  Athenian  vase-paint-  Vases 
ing  had  reached  the  height  of  its  development.  The  long 
struggle  with  the  problems  of  representation  was  over,  and 
the  artist  could  easily,  without  effort,  represent  whatever 
he  chose.  He  was,  in 
fact,  no  longer  interested 
in  setting  for  himself  diffi- 
cult tasks,  for  his  ability 
was  now  taken  for  grant- 
ed. His  chief  concern  was 
to  create  pictures  of  pure 
beauty,  with  graceful  flow 
of  lines  and  harmonious 
composition.  And  these 
scenes  he  imbued  with  a 
spirit  of  dignity  and  se- 
renity which  gives  them, 
so  to  speak,  a  monumen- 
tal character.  In  their 
humble  way  they  show 
the  same  refinement  and 
idealism  as  the  Parthenon 
sculptures.  Besides  this 
"monumental"  style, 
used  generally  on  large 
vases,  there  was  devel- 
oped a  delicate,  graceful 
style  for  which  vases  of 

smaller  dimensions  were  preferably  chosen.  In  these,  fine- 
ness and  richness  of  line-drawing  reach  their  climax.  The 
folds  of  the  soft,  clinging  chitons  are  depicted  in  very  thin, 
delicate  lines,  and  the  attitudes  and  compositions  show  a 
dainty  elegance.  To  add  to  the  richness  of  the  effect,  the 
hair  was  now  drawn  in  single  wavy  locks  on  a  background 


FIG.  77.  AMPHORA 
WARRIOR  TAKING  LEAVE  OF 
FAMILY 


HIS 


122  FIFTH  ROOM 

of  diluted  glaze,  and  on  all  but  the  smaller  vases,  the 
figures  were  generally  distributed  on  different  levels  over 
the  whole  surface  of  the  picture. 

Among  the  examples  of  the  "monumental"  style  in  our 
collection,  one  of  the  most  important  is  a  large  bell-krater 
with  a  scene  of  the  drunken  Dionysos  supported  by  a 
Satyr  and  surrounded  by  his  retinue  of  Maenads  and  Sei- 
lenoi  (fig.  78;  Case  E).    What  a  contrast  between  this 

picture  and  the  sixth-cen- 
tury and  early  fifth-cen- 
tury representations!  In- 
stead of  the  wild,  merry 
troop  of  former  times, 
we  have  dignified  figures 
walking  in  solemn  proces- 
sion, as  if  for  a  religious 
ceremony.  This  same 
spirit  pervades  all  repre- 
FiG.  78.    KRATER  sentations  of  this  period, 

A  BACCHIC  PROCESSION  even  where,  as  in  this  case, 

the  subject  might  call  for 
different  treatment.  Thus  we  find  it  in  scenes  where 
rapid  motion  and  intense  action  are  the  leading  motives, 
such  as  of  women  in  Bacchic  frenzy,  on  a  stamnos;  of 
Kadmos  killing  the  dragon,  on  a  bell-krater;  and  of 
Zeus  pursuing  Ganymede,  on  a  Nolan  amphora,  all  in 
Case  J.  In  the  same  case  is  one  of  our  finest  examples 
of  this  style — a  large  amphora  with  a  scene  of  a  young 
warrior,  named  Neoptolemos,  bidding  farewell  to  his 
family  (fig.  77).  His  father,  Antiokos,  is  holding  his  son's 
hand,  while  Kalliope,  the  wife  or  mother,  is  about  to 
pour  the  parting  libation.  Not  only  are  all  problems 
of  perspective  solved  here  with  great  ease,  but  the  artist 
has  been  able  to  impart  to  his  picture  a  feeling  of  quiet 


SECOND     HALF     OF     V     CENTURY     B.C.  I23 

pathos  which  gives  the  old  famihar  subject  a  new  sig- 
nificance. 

Further  good  examples  of  the  "monumentar'  style  will 
be  found  in  Case  K,  where  are  two  fine  hydriai  with  repre-  Case  K 
sentations  of  Peleus  pursuing  Thetis,  and  an  oinochoe  with 
Amazons  starting  for  battle.   (For  one  of  the  Amazons  see 
tail-piece  of  Introduction,  p.  xvii.) 


FIG.  79.     SCENE  FROM  AN  OINOCHOE 
WOMEN   FOLDING  AND   PERFUMING  CLOTHES 


The  less  careful  or  less  well-preserved  specimens  have 
been  mostly  placed  in  Cases  P  and  Q;  though  here,  too,  Cases 
several  fine  pieces  are  included,  notably,  in  Case  P,  an  ^  ^'^^  ^ 
amphora  with  a  libation  scene  and  a  krater  with  a  repre- 
sentation of  two  horsemen,  which  might  be  an  excerpt  from 
the  Parthenon  frieze. 

The  "graceful"  style  is  represented  in  our  collection  by  ^^^^^^ 
several  first-rate  examples.    The  chief  name  associated  figured— 
with  this  style  is  Meidias,  the  maker  of  the  famous  hydria  f^p' s^tyle 
in  the  British  Museum.    The  name  of  the  actual  painter 
we  do  not  know;  but  he  must  have  exercised  a  marked 


124  FIFTH  ROOM 

influence  on  his  contemporaries,  for  his  style  can  be  traced 
on  many  extant  vases.  A  beautiful  example,  for  instance, 
is  an  oinochoe  in  our  collection  with  a  scene  of  two  women 
in  richly  embroidered  garments,  perfuming  and  folding 

Case  C  clothes  (fig.  79;  Case  C).  It  is  one  of  the  daintiest,  most 
delicate  paintings  we  have.  Refinement  of  line  and  of 
composition  could  go  no  further.  Unfortunately,  the  ap- 
pearance of  the  picture  is  somewhat  spoiled  by  the  bad 
preservation  of  the  black  glaze. 

In  the  same  case  are  several  vases  which  show  Meidian 
influence.  Such  are  a  sadly  mutilated  hydria  with  a  scene 
of  Thamyris,  the  famous  Thracian  lyre-player,  surrounded 
by  the  Muses  whom  he  has  summoned  to  a  musical  contest; 
a  pyxis  with  a  young  girl  balancing  a  stick;  a  lekythos  with 
a  picture  of  a  youth  paying  court  to  a  lady;  and  a  "lekane" 
or  covered  kylix  with  a  scene  of  a  bride  receiving  gifts  from 
her  friends.  An  interesting  subject  will  be  found  on  a 
kotyle  or  deep  cup,  in  the  same  case,  upper  shelf.  A 
woman  is  here  represented  with  a  gilt  stand  on  her  lap, 
surrounded  by  other  women,  an  Eros,  and  a  Satyr.  The 
presence  of  a  Satyr  in  a  scene  with  Athenian  women  is 
unusual  and  suggests  that  it  is  to  be  connected  with  the 
Dionysiac  festival — one  of  the  most  important  celebrated 
in  Athens — at  which  we  are  told  "well-born  maidens  car- 
ried baskets  made  of  gold  in  which  they  placed  first-fruits 
of  all  kinds."  ^ 

A  favorite  shape  at  this  period  is  a  vase  on  a  high  foot, 
with  double  handles,  probably  to  be  identified  with  the 

Case  B  "  lebes  gamikos"  or  marriage-vase  (Case  B).  What  its 
original  purpose  was  is  uncertain.  Two  fine  examples  are 
in  our  collection.  On  both  is  represented  the  Epaulia,  the 
day  after  the  wedding,  when  it  was  customary  for  the 
family  and  friends  of  the  bride  to  go  in  procession  to  the 

1  Aristophanes,  Acharnians,  242. 


SECOND     HALF    OF     V     CENTURY     B.C.  I25 

bridal  pair,  bringing  their  gifts.  On  each  of  our  vases  the 
bride  is  seated  in  the  center  of  the  picture  playing  on  the 
harp,  while  from  each  side  approach  the  gift-bearers.  Be- 
neath the  handles  is  the  customary  figure  of  the  goddess  of 
Dawn;  for  the  ceremony  took  place  in  the  early  morning. 
Though  both  these  pictures  are  carefully  painted,  that  on 
the  larger  vase  is  by  far  the  finer  (fig.  80).  Not  only  is 
the  drawing  very  delicate,  but  the  artist  has  succeeded  in 


imparting  to  his  scene  an  atmosphere  of  solemnity  which 
distinguishes  it  from  the  average  representations.  There 
are  few  more  finely  felt  figures  in  vase-painting  than  the 
bride  looking  up  with  wonder  at  the  little  Eros  who  has 
come  to  bring  her  his  gift.  It  should  be  noticed  that 
while  the  principal  figures  on  this  vase  are  drawn  with 
great  care,  those  at  the  back  and  on  the  foot  are  painted 
in  a  poor,  thoroughly  conventional  style.  Perhaps  the 
master  draughtsman  of  the  pottery  executed  the  principal 
scene  himself,  and  then  left  the  rest  to  be  finished  by  a 
careless  assistant. 

We  have  seen  that  most  of  the  subjects  on  vases  of  the 
graceful  style  are  taken  from  the  life  of  women;  for  it  is 


FIG.  80.     SCENE   FROM   A  MARRIAGE-VASE 


BRIDE   RECEIVING  GIFTS 


126 


FIFTH  ROOM 


in  these  that  the  artists  of  this  school  found  their  best 
opportunities  for  depicting  what  their  hearts  deHghted  in 
— dainty,  graceful  poses,  and  soft,  rich  draperies.  But 
mythological  subjects,  though  not  so  frequent,  also  occur. 
On  a  hydria  between  the  two  vases  just  described  is  a 
representation  of  the  story  of  Poseidon  and  Amymone. 
Amymone,  the  daughter  of  Danaos,  is  seated  in  the  center 
with  the  water-jar  with  which  she  set  out  to  fetch  water. 
The  Satyr  who  attacked  her  is  escaping  to  the  right,  while 
on  the  other  side  is  her  rescuer,  the  god  Poseidon.  The 
Eros  between  them  suggests  the  advantage  which  the  god 
took  of  the  situation. 

The  return  of  Hephaistos  to  Olympos,  on  an  oinochoe 
in  the  same  case,  upper  shelf,  is  another  interesting  mytho- 
logical scene,  as  well  as  a  masterpiece  of  delicate  drawing 
(fig.  8i).  Dionysos  had  been  commissioned  by  the  gods 
to  bring  back  Hephaistos  to  Olympos,  so  that  he  might 
release  Hera  from  the  throne  to  which  she  was  chained. 
Dionysos  succeeded  by  first  making  Hephaistos  drunk. 
Here  the  two  gods  are  depicted  both  riding  on  a  donkey, 
preceded  by  a  gay  little  Satyr  and  a  Seilenos  playing  the 
flutes.  On  the  same  shelf  are  several  small  vases,  among 
which  a  lekythos,  with  two  girls  spinning  tops,  is  of  special 
interest  for  its  subject. 

A  number  of  other  examples  of  this  graceful  style  will 

Case  S  be  found  in  Case  S.  The  most  attractive  is  an  amphora 
with  a  scene  of  "  Dionysos  dining"  under  a  vine-tree.  The 
god  is  reclining  on  his  couch  in  the  customary  Greek  fash- 
ion; his  dinner  is  spread  out  before  him  on  the  adjoining 
table,  and  he  holds  out  his  cup  to  have  it  filled  by  the  boy 
who  is  waiting  on  him.  The  latter  holds  the  jug  he  has 
just  filled  from  the  krater,  and  a  colander  through  which 
to  pour  the  wine. 

Cast'  G  A  number  of  diminutive  oinochoai,  placed  in  Case  G, 


SECOND    HALF    OF    V    CENTURY     B.C.  I27 

were  probably  used  as  children's  toys;  for  many  are  deco- 
rated with  scenes  of  children  at  play,  and  we  know  that 
vases  of  this  type  have  been  found  in  children's  graves. 
On  this  analogy  we  may  explain  several  other  diminutive 
vases  in  this  case — among  them  a  marriage-vase — also  as 
toys.    The  subject  on  the  latter  is  the  same  as  that  on  the 


FIG.  81.     SCENE   FROM  AN  OINOCHOE 
THE  RETURN  OF  HEPHAISTOS  TO  OLYMPOS 


larger  specimens  described  above,  viz.:  the  bringing  of 
gifts  to  the  bride  the  morning  after  the  wedding.  We  may 
imagine  that  this  vase  was  used  by  Greek  children  at  the 
weddings  of  some  of  their  dolls. 

It  will  be  noted  that  on  several  of  the  vases  in  this  case  Vases- 
white  and  other  colors  are  freely  used.    The  introduction  fi^gured— 
of  this  florid  style  marks  the  beginning  of  the  decline  of  Late  Style 
Athenian  vase-painting,  which  set  in  at  the  end  of  the 
fifth  century.    The  Athenian  vase  industry  had  owed  its 
phenomenal  success  largely  to  its  extensive  export  trade, 
particularly  to  Italy;  and  when  political  changes  in  Italy 


128 


FIFTH  ROOM 


and  the  long-drawn-out  hostilities  of  the  Peloponnesian  war 
cut  off  this  commerce,  Athenian  pottery  received  a  fatal 
blow.  Naturally  the  manufacture  of  vases  lingered  on  for 
the  supply  at  least  of  home  needs;  but  as  a  flourishing 
industry  and  as  an  important  outlet  of  the  artistic  genius 
of  Athenian  craftsmen,  its  day  was  over. 

Besides  the  vases  in  Case  G  (both  middle  and  bottom 
shelf),  a  number  of  other  examples  of  this  late  style  will 

Case  T  be  found  in  Case  T.  An  amphora  with  a  combat  of 
Greeks  and  Amazons,  on  the  bottom  of  the  case,  has  its 
colors  fairly  well  preserved,  and  will  give  a  good  idea  of 
the  gay  effect  of  such  decoration.  The  two  vases  with 
angular  handles  on  the  middle  shelf  are  not  Athenian,  but 
Messapian  (South  Italian)  products,  showing  Greek  in- 
fluence in  the  ornamental  bands. 

Vases—         Side  by  side  with  the  red-figured  technique,  painting  on 

groun^d  ^  white  ground  continued  in  favor,  especially  for  a  certain 
class  of  lekythoi,  apparently  used  exclusively  as  offerings 
to  the  dead.  The  figures  were,  as  before,  painted  in  out- 
line, in  either  glaze  or  dull  color,  and  solid  washes  were  used 
for  the  garments  and  other  details.  Often  these  solid 
colors  have  mostly  or  even  completely  disappeared,  leaving 
only  the  outline  drawing. 

Our  collection  includes  an  excellent  series  of  these  leky- 
thoi, in  which  a  gradual  development  can  be  observed. 
The  best  examples  belong  to  the  years  immediately  follow- 
ing the  middle  of  the  fifth  century,  and  have  the  diluted 
black  glaze  used  either  for  the  outlines  of  the  figures,  or  for 

Case  L  the  palmettes  on  the  shoulder  of  the  vase  (Case  L).  Here 
we  find  the  same  simplicity  and  dignity  that  we  noted  in 
contemporary  red-figured  vases,  while  technically,  both  in 
quality  of  the  white  slip  and  in  delicacy  of  execution,  they 
show  the  high-water  mark  of  this  style.  A  pair  of  lekythoi, 
one  with  a  scene  of  a  man  saluting  a  woman,  the  other 


SECOND     HALF    OF     V     CENTURY     B.C.    1 29 


with  two  women  holding  toilet  articles,  are  among  the 
best  productions  of  this  kind  (fig.  82).  Most  of  the  scenes 
on  such  vases  show  mourners  bringing  offerings  of  vases, 
fillets,  and  wreaths,  to  a  tomb;  and  of  these  there  are  sev- 
eral examples  in  our  collection.  An  interesting  subject  is 
a  "prothesis"  scene,  the  laying-out  of  the  deceased,  with 
mourning  women 
tearing  their  hair.  On 
another  lekythos  is  a 
seated  youth  receiv- 
ing or  giving  an  apple 
to  a  woman;  the  un- 
usual experiment  is 
here  tried  of  painting 
the  flesh  of  the  youth 
in  color. 

Another  series  of 
white-ground  leky- 
thoi,  in  part  slightly 
later  than  the  preced- 
ing, shows  the  draw- 
ing entirely  in  dull 
color  (Case  F).  The 
solid  color  washes  are  generally  confined  to  one  or  two 
shades,  preferably  red  and  black.  Sometimes,  however, 
especially  on  the  later  examples,  as  many  as  four  or  five 
colors  are  employed,  and  a  highly  decorative  and  gay  effect 
is  produced  thereby.  The  subjects  of  the  scenes  are  con- 
fined almost  entirely  to  mourners  bringing  offerings  to  a 
tomb.  The  figure  which  is  sometimes  seated  on  the  steps 
of  the  tomb  is  best  interpreted  as  the  deceased  receiving 
his  offerings.  Two  of  our  vases  have  different  subjects; 
one  shows  a  man  and  a  woman  clasping  hands;  another 
a  child  with  his  mother  before  Charon's  boat  (fig.  83). 


FIG.  82.     WHITE  LEKYTHOI 


Case  F 


130 


FIFTH  ROOM 


Engraved 
Gems 


Case  N 


The  child  is  standing  on  the  bank,  dragging  his  toy  cart 
at  his  side;  he  is  beckoning  a  last  farewell  to  his  mother, 
who  is  wrapped  in  her  himation.  Charon  stands  expect- 
antly at  the  prow  of  his  boat,  ready  to  ferry  the  little 
newcomer  across  to  the  abode  of  the 


rdead. 
It  is  noteworthy  that  in  these  repre- 
sentations dealing  more  or  less  directly 
with  death,  there  is  a  quiet  restraint 
in  expressing  grief  for  the  departed. 
Prothesis  scenes  with  the  laying-out  of 
the  deceased  and  with  women  tearing 
their  hair  are  exceptional.  Mostly,  sor- 
row is  implied  rather  than  depicted, 
or  shown  only  in  the  sadness  of  the 
mourners.  It  is  the  same  feeling  of 
reserve  that  we  notice  on  contemporary 
and  fourth-century  gravestones  (see 
p.  220),  which  is  characteristic  of  the 
Greek  love  of  beauty  as  against  realism 
in  art. 

The  art  of  engraving  stones  reached 
its  height  in  the  second  half  of  the 
fifth  century.  Our  collection  includes 
none  of  the  best  examples,  such  as  the 
wonderful  products  of  the  great  gem- 
cutter  Dexamenos;  but  several  good 
specimens  will  show  the  general  character  of  the  work  of 
this  period  (Case  N).  The  favorite  shape  employed  is  the 
scaraboid,  which  is  generally  large  and  thick,  and  is  per- 
forated lengthwise,  so  as  to  be  worn  on  a  swivel  either  as 
a  pendant  or  on  the  finger;  but  other  stones  also  occur.  A 
fine  example  of  a  scaraboid  is  a  carnelian  engraved  on  one 
side  with  a  crane,  on  the  other  with  a  nude  woman  starid- 


FIG.  83 

white  lekythos 
mother  and  child 
approaching 
Charon's  boat 


SECOND    HALF    OF    V    CENTURY     B.C.    I  3I 

ing  by  a  wash-basin.  Animals  are  popular  representations. 
Our  specimens  include  representations  of  a  lion,  a  stag, 
another  crane,  a  dog,  and  a  horse.  On  the  stone  with 
the  horse  is  the  inscription  ^TH^IKPATH^,  Stesikrates, 
probably  the  name  of  the  owner.  Etruscan  stones  likewise 
reflect  the  developed  free  style  prevalent  in  Greece;  but 
the  scarab  is  retained  for  shape.  The  best  example  in  our 
collection  is  engraved  with  a  scene  of  Herakles  throttling 
the  Nemean  lion.  Other  representations  are  a  winged 
Athena,  a  female  winged  divinity,  and  a  Centaur  shooting 
an  arrow. 


SIXTH  ROOM 


FOURTH  CENTURY  B.C. 

The  Peloponnesian  war  had  ended  in  the  year  404 
B.C.  with  the  downfall  of  the  Athenian  empire.  Sparta 
had  championed  the  Greek  states  in  their  fight  for  inde- 
pendence and  had  been  successful.  But  it  was  soon  ap- 
parent that  she  had  done  so  only  to  humble  her  rival 
Athens,  and  that  she  regarded  herself  as  in  control  of  the 
former  Athenian  dependencies.  These  states  found  that 
they  had  merely  exchanged  one  master  for  another  and 
that  Spartan  rule  was  much  more  offensive  than  the  Athe- 
nian had  been;  for  Spartan  garrisons  were  placed  in  many 
of  the  cities  and  the  popular  parties  deprived  of  their  power. 
Moreover,  Sparta  did  not  even  have  the  excuse  of  protect- 
ing the  Aegean  world  from  Persian  aggression;  for,  in  ex- 
change for  Persian  recognition  of  Spartan  leadership  over 
Greek  states,  she  calmly  abandoned  the  Greek  cities  of 
Asia  Minor  to  Persia. 

The  power  of  Sparta  was  not  long-lived.  She  was  de- 
feated by  Thebes  in  the  battle  of  Leuctra  in  379  B.C.,  and 
the  leadership  of  Greece  then  passed  to  Thebes.  But 
Thebes  was  no  more  successful,  and  when  Epaminondas, 
the  great  Theban  general,  was  killed  in  362  B.C.,  she  too 
was  no  longer  able  to  maintain  her  position.    It  was  clear 

132 


FOURTH     CENTURY     B.C.  I  33 

that  the  unification  of  Greece  could  not  be  evolved  from 
within.  Love  of  autonomy  among  the  individual  states 
was  too  great,  their  jealousy  of  each  other  too  strong  to 
make  the  formation  of  a  United  States  of  Greece  possible. 
Constant  strife  had,  moreover,  weakened  the  country,  and 
when  at  last  a  formidable  enemy  from  without  appeared  in 
the  person  of  Philip  of  Macedon,  she  could  offer  no  effec- 


FIG.  84.     BRONZE  GREEK  MIRROR  WITH  COVER 
EROS  AND  TWO  PANS 


tive  resistance.  Happily  the  Macedonians,  though  looked 
upon  as  barbarians  by  the  Greeks,  were  of  a  kindred  stock, 
to  whom  Greek  civilization  readily  appealed.  The  con- 
quest of  Greece  was  therefore  not  an  overthrow  of  Greek 
civilization,  but  rather  the  reverse.  When  Philip's  bril- 
liant successor,  Alexander  the  Great,  conquered  one  by  one 
the  old  Oriental  kingdoms  and  brought  the  whole  of 
Eastern  Asia  and  Egypt  under  his  sway,  founding  Greek 
cities  wherever  he  went,  he  spread  Greek  influence  over  a 
much  vaster  area  than  the  most  ambitious  Greek  could 
ever  have  dreamed  possible.  This  extension  of  Hellenic 
culture  far  beyond  the  boundaries  of  Greece  itself  resulted 
in  the  "Hellenistic"  Age,  which  we  shall  consider  in  the 
next  section. 


I  34  SIXTH  ROOM 

The  effect  of  these  historical  events  on  the  art  of  the 
fourth  century  is  of  great  importance.  Internecine  wars 
and  local  intrigues  were  not  likely  to  call  forth  the  same 
high  spirit  of  patriotism  as  had  the  war  against  Persia. 
Hence  the  ideal  of  the  state  lost  much  of  its  former  glam- 
our. Moreover,  the  teachings  of  poets  and  philosophers 
like  Euripides,  Sokrates,  and  the  Sophists  had  taught  peo- 
ple to  rely  on  their  own  judgment  rather  than  blindly  obey 
authority.  All  this  tended  to  raise  the  interest  in  the 
individual.  It  is  just  this  difference  which  we  observe  in 
the  arts  of  the  fifth  and  fourth  centuries.  Instead  of  the 
idealism  and  impersonality  of  the  fifth  century,  we  find 
now  introduced  a  personal,  individualistic  element.  This 
individualism  is  not  very  marked,  especially  if  judged  by 
modern  standards,  for  the  traditions  of  the  Pheidian  period 
were  still  strong;  but  it  is  nevertheless  unmistakable.  We 
are,  in  fact,  on  a  different  plane.  The  lofty  conceptions 
of  the  fifth  century  have  been  changed  for  more  human 
standpoints;  and  the  products  of  the  new  epoch,  though 
they  still  satisfy  our  sense  of  beauty,  no  longer  call  forth 
our  reverence. 

Marbles  The  larger  marble  sculptures  of  this  period  are  exhibited 
in  the  Central  Hall  and  described  on  pp.  220  ff.  On  ac- 
count of  the  lighting,  however,  an  exception  has  been 
made  in  the  case  of  the  head  of  an  athlete,  which  is  shown 
in  this  room  on  Pedestal  H,  but  is  described  on  p.  228. 
A  number  of  smaller  marble  pieces  will  be  found  in  Case 

Case  A  A.  Though  not  works  of  great  importance,  they  have 
the  charm  and  delicacy  of  fourth-century  work.  Several 
deserve  special  mention.  A  head  of  a  youth,  from  Taren- 
tum  (top  shelf),  shows  the  influence  of  Skopas  in  the  shape 
of  the  skull  and  the  deep-set  eyes.  The  flatness  of  the 
left  side  and  the  sketchy  treatment  of  that  part  of  the 
surface  seem  to  indicate  that  the  head  was  originally  seen 


FOURTH     CENTURY  B.C. 


in  profile,  perhaps  as  part  of  a  metope.  A  small  head,  on 
the  same  shelf,  is  reminiscent  of  the  Hermes  of  Praxiteles. 
Though  the  workmanship  is  sketchy,  the  artist  has  caught 
much  of  the  charm  of  his  master.  Another  attractive 
piece  is  a  relief  with  a  youth  on  horseback,  recalling  in 
subject  and  style  the  relief  No.  1 3  in  the  Central  Hall  (p. 
232).  On  the  top  shelf 
is  a  small  fragment 
from  the  Tholos  at  Epi- 
dauros.  It  is  a  piece  of 
the  frieze  which  deco- 
rated the  circular  wall 
of  the  Tholos.  The 
head-band  of  this  chap- 
ter (p.  132)  shows  the 
richness  of  the  whole 
composition  of  the 
frieze,  while  in  our  lit- 
tle fragment  we  can  ap- 
preciate the  delicacy  of 
the  carving.  A  frag- 
ment from  a  relief,  placed  on  the  north  wall,  shows  a 
female  figure  sitting  on  a  pillar,  in  a  pensive  attitude.  It 
is  evidently  part  of  a  replica  of  the  well-known  relief  of 
Aphrodite  persuading  Helen  to  join  Paris,  which  exists  in 
several  copies.  The  figure  here  shown  is  Peitho,  Per- 
suasion; we  know  from  the  other  copies  that  beneath  the 
pillar  were  seated  Aphrodite  and  Helen,  while  opposite 
them  stood  Paris  with  Eros.  A  comparison  with  the  re- 
lief in  the  Naples  Museum,  which  is  the  best-known  replica, 
shows  that  the  Peitho  on  our  fragment  agrees  in  all  details 
with  the  corresponding  figure  in  that  relief. 

A  fine  bronze  statuette  of  the  fourth  century  is  shown  in 
Case  D.    It  represents  a  bearded  man  standing  with  his 


FIG.  85, 


BRONZE  MIRROR  COVER 
TOILET  SCENE 


Bronzes — 
Statuettes 
Case  D 


36 


SIXTH 


ROOM 


right  arm  raised.  Though  the  attributes  are  missing,  we 
can  identify  him,  from  his  general  type,  with  Poseidon. 
Originally  he  must  have  held  a  trident  in  one  hand  and 
perhaps  a  dolphin  in  the  other.  The  figure  shows  the 
influence  of  the  sculptor  Lysippos,  both  in  the  proportions 
of  the  body,  such  as  the  slim  torso  and  long  legs,  and  in 
the  modeling,  which  is  slightly  elaborated. 
  In  the  preceding  section  we 


seized  the  other  by  the  arm  and  is  pulling  him  away  against 
his  will.  Eros,  who  has  apparently  just  arrived  on  the 
scene,  is  about  to  strike  a  blow  at  the  remonstrant.  The 
locality  of  the  scene  is  indicated  as  a  mountain  side  by  the 
rocky  ground  and  the  flowering  plants.  Both  the  composi- 
tion of  this  group,  which  is  skilfully  adapted  to  the  circular 
field,  and  the  execution  are  excellent.  The  thick-set  bodies 
of  the  Pans  with  their  coarse-featured  faces  are  well  con- 
trasted with  the  slender  figure  of  Eros,  and  the  physical  ex- 
ertion and  intentness  of  all  three  are  splendidly  portrayed. 

Another  mirror  is  decorated  with  a  relief  of  a  Seilenos 
and  a  man  in  Scythian  costume.  The  Seilenos  is  seated  on 
a  rock,  playing  the  double  flutes.  He  has  the  usual  snub 
nose,  animal's  ears,  and  tail,  and  he  sits  on  a  lion's  skin. 


FIG.  86.     SILVER  PYXIS 


have  described  a  number  of 
Greek  mirrors  with  covers  orna- 
mented with  repousse  reliefs,  and 
occasionally  also  with  engraved 
scenes  (see  p.  1 16).  Several  ex- 
amples of  this  type  belonging  to 
the  fourth  century  are  also  in- 
cluded in  our  collection  (Case  C). 
Of  these  perhaps  the  finest  has 
a  relief  representing  two  Pans  en- 
gaged in  a  quarrel,  with  Eros  in- 
tervening (fig.  84).   One  Pan  has 


FOURTH     CENTURY     B.C.  I  37 

which  serves  him  for  a  wine-skin.  The  youth  seated  op- 
posite him  is  characterized  as  a  Scythian  by  his  long 
trousers  and  pointed  leather  cap.  The  subject  of  the 
scene  is  not  certain.  The  Seilenos  playing  the  double 
flutes  suggests  Marsyas,  in  which  case  the  figure  opposite 
may  be  the  Scythian  slave  who  flayed  Marsyas  alive,  as  a 
punishment  for  his  presumption  in  challenging  Apollo  to  a 


FIG.  87.  BRONZE  VASES 
PART  OF  A  TOMB  GROUP 


musical  contest.  The  preservation  of  the  mirror  is  not 
good,  a  number  of  pieces  being  missing.  The  subjects  of 
the  reliefs  of  two  other  such  mirrors  are  Dionysos  and 
Ariadne,  and  the  head  of  a  woman  in  profile.  A  relief 
which  originally  belonged  to  such  a  mirror  shows  Aphro- 
dite seated  on  a  rock,  with  two  Erotes.  The  graceful  com- 
position and  the  dainty  postures  of  the  figures  make  this 
a  typical  example  of  fourth-century  work. 

A  mirror  cover,  lent  by  J.  P.  Morgan,  has  on  its  under 
side  an  engraving  representing  a  toilet  scene  ^  (fig.  85). 

^  This  has  been  pubHshed  by  Furtwangler  in  Furtwangler  und  Reich- 
hold,  Antike  Vasenmalerei,  Serie  II,  Text,  p.  42,  fig.  18. 


I  38  SIXTHROOM 

Two  women  are  sitting  opposite  each  other;  one  is  in  the 
act  of  doing  her  hair,  while  the  other  is  holding  up  a  mirror 
for  her.  The  drawing  is  of  great  fineness,  the  lines  of  the 
garments  and  of  the  hair  and  all  details  being  engraved 
with  delicacy  and  freedom.  As  is  often  the  case  in  mirrors 
of  this  type,  the  figures  were  silvered.  The  relief  which 
decorated  the  outer  side  of  the  cover  has  disappeared. 

Besides  mirrors  on  stands  and  mirrors  with  covers,  a 
third  type  was  prevalent  in  classical  times,  viz.:  mirrors 
with  handles.  This  form,  which  corresponds  more  nearly 
with  our  own  hand  mirrors,  was  in  common  use  among  both 
the  Greeks  and  the  Etruscans  from  the  sixth  to  the  third 
century  B.C.  Though  we  have  as  yet  no  Greek  exam- 
ples, except  those  belonging  to  the  Cesnola  Collection  (in 
Gallery  1:  D  14),  the  Etruscan  type  is  well  represented  in 
our  collection.  These  Etruscan  mirrors  can  be  divided 
into  two  classes:  one  is  provided  with  a  tang  for  insertion 
in  a  wooden  or  bone  handle;  the  other  has  a  handle  cast 
in  one  piece  with  the  disk.  In  this  case  are  exhibited  our 
examples  of  the  former  type,  which  is  the  earlier,  being 
prevalent  at  the  end  of  the  fifth  century  and  throughout 
the  fourth  century  B.C.  The  backs  of  these  mirrors  are 
decorated  with  engraved  scenes.  An  examination  of  these 
will  show  what  a  high  standard  the  ancients  attained  in 
this  difficult  art.  The  names  of  the  various  personages 
represented  are  often  inscribed  in  Etruscan  letters,  a  cus- 
tom probably  borrowed  from  Greek  vase-paintings. 

One  of  the  finest  examples  in  our  collection  is  decorated 
with  a  scene  of  Aphrodite  persuading  Helen  to  join  Paris. 
The  subjects  of  the  designs  on  the  other  mirrors  are  Peleus 
surprising  Thetis  at  her  toilet;  Athena  between  Thalna  and 
Sime;  Odysseus  attacking  Circe;  Bellerophon  slaying  the 
Chimaera;  and  Admetos  and  Alkestis  kissing  each  other. 
Both  the  subjects  and  the  style  of  the  drawings  show  how 


FOURTH     CENTURY     B.C.  I  39 

closely  dependent  the  Etruscan  artists  were  on  Greece. 
The  design  of  Aphrodite  persuading  Helen  was  undoubt- 
edly closely  copied  from  a  Greek  original,  while  the  others 


FIG.  88.    "tanagra"  statuettes 


must  all  have  been  taken  more  or  less  directly  from  Greek 
prototypes. 

In  the  same  case  are  several  other  bronze  works  of  this  Bronzes- 
period  which  deserve  special  mention.    One  is  a  relief  neous 


140  SIXTH  ROOM 

representing  Eros  standing  in  an  easy,  graceful  pose,  with 
a  jug  in  one  hand  and  a  bowl  in  the  other.  The  curved 
surface  of  the  relief  makes  it  probable  that  it  decorated  a 
hydria.  A  strigil  has  a  stamp  on  the  handle  representing 
a  Nereid  riding  on  a  sea-horse  and  carrying  the  shield  of 
Achilles.  An  interesting  piece  is  also  a  dikast's  ticket, 
used  by  an  Athenian  juror  as  evidence  of  his  right  to  sit  on 
a  jury  and  to  draw  pay  therefor.  It  is  inscribed  with  the 
name  of  the  holder,  ETTIKPATH^  ^KABQ,  "  Epikrates 
of  the  deme  of  Scambonidae."  At  the  left  is  stamped  an 
I,  the  ninth  letter  of  the  Greek  alphabet,  signifying  that 
Epikrates  belonged  to  the  ninth  court.  At  the  right  are 
two  stamps,  each  with  the  device  of  an  owl  surrounded  by 
an  olive  spray,  the  official  emblem  of  the  city  of  Athens. 

Case  E  In  Case  E  are  several  pieces  of  bronze  armor.  A  cuirass, 
consisting  of  front  and  back  pieces,  is  of  the  type  mostly 
found  in  Italy  in  fourth-century  tombs.  It  is  finely  mod- 
eled to  fit  the  forms  of  the  body.  Along  the  sides  are 
remains  of  hinges  and  rivets  for  fastening  the  two  parts 
together.  Two  helmets  of  conical  shape  are  clearly  de- 
rived from  the  pilos  or  felt  hat  worn  by  the  Greeks.  Such 
helmets  occur  on  Greek  monuments  of  the  fifth  and  fourth 
centuries  B.C.  In  the  same  case  is  a  jug  decorated  with  a 
beautiful  design  in  a  jour  relief,  of  an  inverted  anthemion 
rising  from  akanthos  leaves. 

Tomb  An  interesting  tomb  group  is  shown  in  Case  F.    It  con- 

sists  of  objects  in  difi'erent  materials,  chiefly  bronze,  said 
to  have  been  found  at  Bolsena  (see  fig.  87).  From  the 
fact  that  a  large  number  of  the  pieces  are  toilet  articles, 
we  may  assume  that  the  tomb  was  that  of  a  woman.  Many 
are  inscribed  Suthina  (/^HIOVM),  in  Etruscan  letters,  a 
word  not  infrequently  found  on  Etruscan  bronzes  and  ap- 
parently signifying  "  tomb  article."  Two  black-glaze  vases 
definitely  date  the  tomb  in  the  fourth  to  third  centuries 


FOURTH     CENTURY     B.C.  I4I 

B.C.,  and  this  evidence  is  confirmed  by  some  of  the  other 
objects,  which  are  decorated  in  the  Etruscan  style  of  that 
period.    The  chief  interest  of  this  group  is  that  it  gives  us 


FIG.  89.     FORGERIES  OF  "TANAGRA"  STATUETTES 


a  good  idea  of  the  kind  of  articles  placed  together  in  a  tomb. 
The  bronze  objects  consist  of  a  mirror  with  an  engraved 
design  representing  the  release  of  Prometheus,  a  patera 
with  a  handle  in  the  form  of  a  winged  Lasa,  a  bowl,  a  jug, 


142 


SIXTH  ROOM 


a  cista,  and  a  plate  from  an  incense-burner.  A  dainty 
little  box  (fig.  86),  a  pointed  amphora  with  scroll  handles, 
and  a  strigil  are  of  silver.  There  are  also  a  number  of 
objects  in  iron  and  clay,  as  well  as  a  gold  ring,  which  is 
exhibited  in  the  Gold  Room  (Gallery  11:  C  32). 
Terra-  Jhe  changes  which  the  individualistic  conceptions  of 

cottas—         ,      r         ,  ,  , 

Statuettes  the  fourth  century  wrought  on  art  are  nowhere  so  convinc- 
ingly shown  as  in  the  "Tanagra"  statuettes. ^  The  lofty 
remoteness  of  the  fifth  century  has  here  completely  disap- 
peared, and  a  purely  human  charm  has  taken  its  place. 
We  have  before  us  no  longer  divinities  whose  sublimity 
evokes  worship.  The  women,  youths,  and  children  por- 
trayed in  these  graceful  little  figures  are  as  human  as  our- 
selves; and  it  is  probably  this  very  quality  which  has  made 
them  so  popular  today.  They  require  no  complicated 
archaeological  explanation.  What  story  they  have  to  tell 
they  can  tell  themselves;  for  they  represent  the  people  of 
their  time  as  we  might  have  seen  them  any  day,  only  trans- 
formed into  works  of  art  by  their  makers'  exquisite  sense 
of  beauty. 

Our  collection  includes  many  excellent  examples  of  such 
G,  J,  K,  L  statuettes  (see  fig.  88;  Cases  G,  J,  K,  L).  The  most  suc- 
cessful are  the  figures  of  the  women  and  girls.  We  see 
them  standing  in  quiet  poses,  sometimes  leaning  against 
a  pillar,  occasionally  walking  or  sitting,  but  mostly  quiet, 
serene,  and  a  little  pensive.  Only  rarely  are  they  por- 
trayed in  a  definite  action,  such  as  doing  their  hair,  carry- 

^  The  reason  these  statuettes  are  commonly  called  "Tanagra"  is  that 
figures  of  this  type  were  first  found  about  1870  in  tombs  in  the  little 
Boeotian  town  of  Tanagra.  Since  then  similar  figures  have  been  un- 
earthed elsewhere,  but  the  extensive  discoveries  at  Tanagra  make  it 
certain  that  they  must  have  been  particularly  popular  in  that  vicinity. 
The  provenance  of  the  examples  in  our  collection  is  not  always  known. 
From  their  type  many  can  be  assigned  to  Tanagra,  while  others  come 
from  Attica  and  other  regions  in  Greece  proper. 


FOURTH     CENTURY  B.C. 


ing  a  child,  or  playing  games.  Their  garments  consist  of 
a  tunic  (chiton)  and  a  mantle  (himation),  generally  wrapped 
completely  round  their  bodies  and  arms.  Some  wear  a 
pointed  hat  or  a  hood  formed  by  pulling  up  the  mantle. 
Leaf -shaped  fans  were 
evidently  popular,  for 
many  of  the  women  car- 
ry them,  and  baskets, 
tambourines,  and  other 
objects  sometimes  ap- 
pear. There  is  little  in- 
dividual interest;  but  it 
may  be  said  without  ex- 
aggeration that  woman- 
ly gentleness  and  grace 
have  never  been  ex- 
pressed more  simply  and 
more  truly  than  by  the 
humble  artisans  who 
made  these  clay  figures. 
The  children  are  equally 
charming,  and  among 
them  we  must  include 
the  little  Erotes  with 
their  merry,  mischiev- 
ous faces;  for  there  is 
nothing  godlike  left  in 
their  conception;  they  are  just  like  human  children  except 
for  their  wings.  The  youths  are  as  a  rule  less  successful, 
being  generally  conventional;  only  occasionally,  as  in  fig. 
88,  do  we  find  a  fine,  dignified  conception. 

A  company  of  fourteen  actors,  said  to  have  been  found 
together  in  a  tomb  in  Greece,  is  an  unusual  group  (Case  K). 
The  figures  show  a  great  variety  of  types  and  poses,  but 


FIG.  90.        ATHENIANIZING  VASE 


144  SIXTH  ROOM 

all  have  the  conventional  insignia  of  the  comic  actor,  such 
as  the  mask,  which  is  generally  bearded,  and  the  protrud- 
ing stomach.  The  men  wear  trousers,  a  short  chiton  some- 
times made  of  fur,  and  occasionally  a  mantle  and  cap;  the 
women  (whose  parts  were  of  course  taken  by  men  accord- 
ing to  the  Greek  custom,  and  who  are  clearly  recognizable 
as  such  in  our  statuettes)  wear  long  chitons  and  mantles. 
A  few  of  the  figures  are  identifiable  with  specific  roles;  for 
instance,  a  ludicrous  statuette  of  Herakles  with  his  finger 
in  his  mouth,  an  old  nurse  and  a  baby,  and  a  slave.  Some 
of  the  women  appear  to  wear  no  masks,  but  it  is  more 
probable,  since  the  custom  of  wearing  them  was  so  uni- 
versal, that  the  masks  of  young  women  were  very  like 
real  faces.  Whether  such  figures  were  used  by  children 
to  personify  actors,  like  the  burattini  in  Italy,  or  whether 
they  were  votive  offerings,  placed,  perhaps,  in  an  actor's 
grave  as  an  appropriate  memorial,  we  have  no  means  of 
determining. 

In  order  fully  to  appreciate  the  original  appearance  of 
the  Greek  terracotta  statuettes,  we  must  remember  that 
they  were  all  painted;  and  that  instead  of  their  present 
drab  surface  they  showed  a  rich  and  varied  color-scheme. 
We  need  only  compare  the  seated  boy  in  our  collection 
(No.  14. 146.4  in  Case  G),  on  which  the  paint  is  unusually 
well  preserved,  with  the  figures  on  which  it  has  mostly 
disappeared  to  see  how  much  of  interest  and  life  was  added 
by  the  coloring.  The  predominating  colors  used  were 
white,  blue,  rose-pink,  and  yellow,  all  light,  delicate  shades, 
appropriate  to  the  daintiness  of  the  figures.  The  majority 
of  the  statuettes  were  made  in  moulds.  The  vent-hole  at 
the  back  was  of  course  added  so  that  the  moisture  in  the 
clay  could  evaporate  in  the  baking. 

It  has  been  said  of  the  Tanagra  figures  that  they  are  all 
sisters  but  few  of  them  are  twins.    And  this  is  certainly 


FOURTH     CENTURY     B.C.  I45 

true.  Considering  the  fewness  of  the  motives,  it  would 
have  been  natural  from  our  point  of  view  to  reproduce  the 
same  types  over  and  over  again.  But  the  love  of  diversity, 
so  characteristic  of  the  Greeks,  prevented  such  mechan- 
ical production.  Though 
the  same  mould  was  used 
many  times,  variety  was 
achieved  by  such  means 
as  attaching  the  arms  in 
different  ways,  changing 
the  pose  of  the  head,  add- 
ing different  attributes, 
and  retouching.  These 
slight  differences  intro- 
duce a  refreshing  element 
of  originality  and  save  the 
statuettes  from  ever  being 
monotonous. 

It  has  often  been  asked 
what  was  the  purpose  of 
these  little  figures.  Were 
they  used  merely  as  bric- 
a-brac,  had  they  a  reli- 
gious significance,  or  did 
they  play  a  part  in  funeral  fig.  91.  campanian  vase 
ceremonies?  We  must  ad- 
mit that  we  do  not  know  definitely.  The  majority  have 
been  found  in  tombs;  but  whether  they  were  placed  there 
because  they  were  familiar  household  articles,  or  for  any 
religious  or  specifically  funerary  purpose,  is  difficult  to  de- 
cide. That  they  were,  at  least  in  the  majority  of  cases, 
purely  genre  figures,  without  mythological  import,  seems 
clear  from  their  general  character. 

These  Tanagra  and  related  figures  can  be  assigned  to  the 


14^  SIXTH  ROOM 

fourth  century  and  to  the  beginning  of  the  third  century. 
Their  development  into  other  types  characteristic  of  the 
Hellenistic  spirit  will  be  discussed  in  the  next  section. 

A  special  use  of  terracotta  figures,  which  became  popu- 
lar at  this  period,  was  that  of  ornaments  for  vases.  The 
Case  E  examples  in  our  collection,  placed  in  Case  E,  comprise  a 
group  of  Boreas  carrying  off  Oreithyia,  a  sphinx,  a  female 
figure,  and  a  small  seated  Dionysos  (lent  by  Albert  Galla- 
tin). 

A  word  must  here  be  said  about  modern  forgeries  of 
Tanagra  statuettes,  which  are  prevalent  in  many  private 
and  even  public  collections.  When  the  Tanagra  figures 
were  first  found,  they  immediately  enjoyed  a  great  popu- 
larity. As  the  supply  was  soon  less  than  the  widespread 
demand  for  them,  the  temptation  lay  near  to  replenish  the 
stock  with  forgeries.  Accordingly,  a  flourishing  industry 
of  such  forgeries  grew  up,  which  deceived  even  experts  for 
a  considerable  time,  until  the  truth  came  out. 
Case  M  A  number  of  such  forgeries  have  been  placed  in  Case  M 
(see  fig.  89).  There  is  perhaps  no  better  way  to  appreciate 
the  simple  beauty  of  the  Greek  statuettes  than  to  compare 
them  with  these  modern  imitations.  The  large  mytho- 
logical groups  are  so  wholly  modern  in  conception  and 
composition  that  they  do  not  here  come  into  consideration. 
But  many  of  the  figures  copy  fairly  closely  the  standing 
or  sitting  types  of  the  Tanagra  figures;  and  yet,  on  closer 
examination,  their  un-Greek  character  is  apparent.  Com- 
pared with  the  simple  naturalness  and  quiet  poise  of  the 
Greek  figures,  these  modern  creations  appear  affected  and 
theatrical.  This  is  shown  both  in  the  attitudes — especially 
in  the  positions  of  the  head  and  arms — and  also  in  the 
expressions.  Serenity  has  given  place  to  sentimentality. 
The  drapery  is  another  criterion.  It  is  almost  invariably 
fussy  and  confused  and  often  lacks  construction.  Another 


FOURTH     CENTURY  B.C. 


M7 


diflference  is  the  greater  length  of  the  line  from  the  waist 
to  the  knees,  which  will  be  observed  in  many  of  the  for- 
geries. Sometimes  the  modern  pieces  are  made  from 
moulds  taken  from  ancient  statuettes,  in  which  case  it  is 
occasionally  difficult  to  pronounce  judgment;  for  in  those 
cases  the  style  is  of  course  Greek; 
but  even  here  a  certain  indefmite- 
ness  in  the  contours  and  often  the 
addition  of  inappropriate  details 
betray  the  hand  of  the  forger. 

We  have  seen  in  the  preceding 
section  (see  p.  127)  that  at  the 
end  of  the  fifth  century  the  great 
Athenian  vase  industry  practically 
came  to  an  end.  Henceforth  the 
countries  which  had  depended  on 
Athens  for  their  vases  had  to 
produce  their  own  wares.  New 
ceramic  centers  came  into  being, 
of  which  the  most  important,  to 
judge  from  results  of  excavations, 
were  Crimea,  the  Cyrenaica  in 
Northern  Africa,  and  Southern 
Italy.  The  vases  found  in  Crimea 
and  in  the  Cyrenaica  are  painted 
in  the  late  Athenian  style,  and  were 

probably  made  by  Athenian  potters  who  had  made  their 
homes  in  these  lands,  though  some  of  them  may  also  have 
been  imported  from  Athens.  Our  collection  includes  no 
examples  of  this  class.  In  Italy  we  can  distinguish  first  a 
period  in  which  the  Athenian  style  is  more  or  less  closely 
adhered  to;  after  which  three  distinct  fabrics  make  their 
appearance,  which,  though  still  based  on  the  Athenian  red- 
figured  technique,  clearly  show  that  the  tastes  of  a  different 


FIG.  92.     APULIAN  VASE 


Vases 


48 


SIXTH 


ROOM 


time  and  place  have  asserted  themselves.  These  fabrics 
correspond  to  the  three  chief  divisions  of  South  Italy — 
Apulia,  Campania,  and  Lucania — the  products  of  each 
locality  exhibiting  marked  characteristics  of  its  own. 

In  our  collection  are  several  examples  of  the  earlier 
phase,  belonging  to  the  end  of  the  fifth  or  the  beginning  of 
the  fourth  century  B.C.,  in  which  the  Athenian  style  is  still 
Case  N      dominant  (Case  N).    Foremost  among  these  are  two  vases 


form,  with  a  representation  of  the  departure  of  a  young 
warrior  (fig.  90).  In  both  these  vases  the  shapes,  the  fine 
luminous  quality  of  the  black  glaze,  and  the  general  style 
point  to  a  close  connection  with  Athenian  prototypes. 
Some  details  in  the  costumes  and  decoration,  however,  and 
here  and  there  the  type  of  features,  show  the  presence  of 
a  foreign  element. 

The  Lucanian,  Campanian,  and  Apulian  fabrics,  which 
belong  to  the  fourth  to  third  centuries  B.C.,  are  illustrated 
Cases  and  in  our  Collection  by  a  number  of  examples  placed  in  Cases 
O-P^''^'  and  Pedestals  0-W.  Of  the  first  two  we  have  only  a  few 
pieces  (Case  Q).  The  Lucanian  vases  are  distinguished  by 
their  comparative  simplicity  of  style,  rare  use  of  accessory 
colors,  and  a  certain  largeness  and  restraint  both  in  the 
drawing  and  the  composition.  The  Campanian  ware  is 
characterized  by  its  brilliant  coloring,  which  gives  it  a 


FIG.  93.     APULIAN  CUP 


of  unusually  good  work- 
manship. One  is  a  large 
bell-krater,  said  to  have 
been  found  in  Sicily,  with 
Thetis's  visit  to  Hephais- 
tos  represented  on  one  side 
and  an  unidentified  scene 
on  the  other.  The  other 
is  an  amphora,  reminiscent 
in  shape  of  the  ''Nolan" 


FOURTH     CENTURY  B.C. 


149 


markedly  picturesque  quality  (see  fig.  91).  By  far  the 
most  numerous  are  the  Apulian  vases.  The  most  distinc- 
tive in  our  collection  are  two  vases  of  large  size,  one  an 
amphora  with  a  representation  of  the  dispute  of  Persephone 
and  Aphrodite  con- 
cerning Adonis  (fig. 
92;  on  Pedestal  T), 
the  other  a  hydria 
with  a  scene  of 
Hades  carrying  off 
Persephone(on  Ped- 
estal U).  Several 
other  vases  of  large 
size  are  painted  en- 
tirely black  with  oc- 
casionally the  addi- 
tion of  a  gilt  wreath 
(on  Pedestals  O  and 
W  and  on  top  of 
Cases  S  and  V).  In 
general  appearance 
they  are  perhaps  the 
most  successful  of 
the  Apulian  vases, 
since  the  beauty  of 
the  shapes  is  not 
marred  by  too  lav- 
ish decoration. 

A  selection  of  our  better  painted  specimens  are  exhibited 
in  Case  P;  among  these  the  most  noteworthy  are  the  beau- 
tiful "lekane"  in  the  center  of  the  top  shelf  (fig.  94),  the 
lekythos,  on  the  deck  of  the  case,  with  an  attractive  scene 
of  a  little  girl  in  a  swing,  and  a  small  cup  with  the  head  of 
a  woman  (fig.  93). 


FIG.  94.     APULIAN  VASE 


I50 


SIXTH 


ROOM 


In  Case  S  (bottom  shelf,  to  the  right)  should  be  noted 
two  large  amphorai  with  funerary  scenes;  the  mourners 
are  represented  as  bringing  offerings  to  a  tomb,  which  is 
in  the  form  of  a  shrine  with  a  representation  of  the  de- 
ceased, similar  to  contemporary  marble  tombstones  (see 
p.  220).  It  will  be  observed  in  general  that  the  Apulian 
vases  show  a  great  variety  of  shapes,  but  a  marked  poverty 


 '.  :  :  I    rics    and    the  Athenian 

FIG.  95.   GOLD  EARRINGS        vascs  will  show  important 

differences.  The  black 
glaze  has  rarely  the  same  rich,  luminous  quality;  the 
shapes  are  no  longer  borrowed  directly  from  the  Athenian 
repertoire;  and  above  all,  the  types  of  the  figures,  the 
generally  crowded  compositions,  and  the  profuse  use  of 
yellow  as  well  as  white  as  accessory  colors,  give  these  vases 
an  entirely  different  aspect.  In  the  better  examples  the 
elaborateness  of  shape  and  decoration  makes  an  impres- 
sion of  richness  and  splendor,  which  give  them  a  value  of 
their  own;  but  in  the  less  successful  vases  this  striving 
toward  effect  does  not  hide  indifferent  workmanship  and 
inherent  poverty  of  invention.  In  other  words,  this  South 
Italian  style  is  like  a  last  echo  of  the  great  period  of  Athe- 
nian ceramics.    It  is  still  beautiful  in  so  far  as  it  is  reminis- 


of  invention  in  the  repre- 
sentations. Exchange  of 
gifts  between  two  lovers, 
funerary  scenes,  single  fig- 
ures of  Eros  and  Nike,  and 
female  heads  occur  with 
monotonous  frequency. 
Mythological  subjects  are 
comparatively  rare. 


A  comparison  between 
these  Graeco-ltalian  fab- 


FOURTH     CENTURY     B.C.  I5I 

cent  of  former  achievements;  but  there  is  weakness  at  the 
core,  which  precludes  the  possibihty  of  a  great  future,  and 
when  the  style  died  out  in  the  third  century,  the  red- 
figured  technique  came  definitely  to  an  end. 

We  have  only  a  few  examples  of  Greek  engraved  stones  Engraved 
of  this  period  (Case  B).    The  representations  consist  of  (^^^fg 
animals  attacking  their  prey,  and  various  deities.  The 


FIG.  96.     GOLD  DIADEM  AND  NECKLACE 


Etruscan  stones  are  mostly  of  careless  execution,  being 
roughly  worked  with  the  round  drill,  without  any  indica- 
tion of  detail. 

The  art  of  the  Greek  goldsmiths  may  be  said  to  have  Jewelry 
attained  the  highest  stage  of  its  development  in  the  fourth  ^^^^'^ry 
century  B.C.  The  custom  of  working  the  gold  rather  than 
using  it  merely  as  a  setting  for  precious  stones  continued, 
and  the  decorations  in  filigree,  granulation,  repousse,  plait- 
ing, and  modeling  attained  a  richness  and  perfection  of 
workmanship  which  to  us  is  nothing  short  of  marvelous. 
Our  collection  includes  a  number  of  first-rate  specimens 
which  are  indeed  some  of  the  finest  examples  of  their  kind 


152 


SIXTH 


ROOM 


in  existence  (placed  in  Gallery  II:  C  32).  A  particularly 
interesting  group,  said  to  have  been  found  together  in  one 
grave,  consists  of  a  diadem,  a  necklace,  a  pair  of  earrings, 
a  finger-ring,  seven  rosettes  in  the  form  of  small  flowers, 
and  nineteen  beads  from  a  necklace  (see  figs.  95  and  96). 
The  first  lady  in  the  land  might  well  have  been  proud  of 
such  jewelry.  The  diadem  is  decorated  with  a  beautiful 
repousse  relief  representing  Dionysos  and  Ariadne,  and 


small  female  figures,  sitting  amid  scrolls.  The  necklace  is 
of  a  type  common  in  Greek  jewelry,  consisting  of  a  closely 
woven  braid  of  fine  gold  wire,  from  which  pendants  are 
suspended  by  intertwining  chains,  with  rosettes  at  the 
points  of  attachment.  Originally  the  petals  of  the  rosettes 
were  inlaid  with  enamel,  but  this  has  disappeared.  Every 
detail  is  wrought  with  great  delicacy,  so  much  so  that  the 
beauty  of  the  execution  can  be  fully  appreciated  only  with 
a  strong  glass.  It  is  a  most  convincing  example  of  the 
Greek  craftsman's  love  of  his  work  for  its  own  sake,  rather 
than  for  effect.  The  same  might  be  said  of  the  earrings, 
which  are  likewise  masterpieces  of  goldsmith's  work,  rich 
in  design  and  perfect  in  execution. 
Another  exceptionally  fine  piece  is  a  gold  ornament  of 


FIG.  97.     GOLD  FIBULA 


FOURTH     CENTURY     B.C.  I53 

pediment  shape,  decorated  in  filigree  thread  (fig.  97).  At 
the  two  corners  are  fore  parts  of  winged  horses,  modeled 
in  full  round.  This  object  evidently  served  as  the  back 
of  a  fibula,  since  on  the  reverse  side  are  the  remains  of  a 
spring  and  clasp.  Other  good  examples  are  a  chain  neck- 
lace with  central  medallion  decorated  with  the  head  of 
Dionysos  in  repousse  relief;  several  pieces  said  to  have  been 
found  together  in  a  grave;  and  a  number  of  earrings  with 
pendants  in  the  form  of  Erotes  or  other  figures. 

Three  gold  rings  with  engraved  bezels  are  specimens  at 
the  same  time  of  jewelry  and  of  the  art  of  engraving. 
The  designs  show  a  woman  standing  by  an  incense-burner. 
Aphrodite  and  Eros,  and  a  girl  dancing,  all  represented  in 
the  style  of  the  period.  The  execution  is  good  but  not  of 
the  best. 


SEVENTH  ROOM 


HELLENISTIC  PERIOD 

THIRD  TO  FIRST  CENTURY  B.C. 

w  ITH  the  conquests  of  Alexander  the  Great,  Greece 
entered  upon  a  new  phase  of  her  history.  She  had  sub- 
dued the  old  kingdoms  of  the  Orient  and  extended  her 
borders  far  beyond  the  confines  of  her  own  country.  Her 
history  is  henceforth  bound  up  with  that  of  the  great  Hel- 
lenized  world  which  she  had  created.  This  new  world  she 
was  unable  to  control  politically.  With  Alexander's  death 
the  old  Greek  inability  to  combine  reasserted  itself,  and 
after  long  struggles  between  the  Macedonian  generals  who 
succeeded  to  Alexander's  empire,  three  separate  kingdoms 
— Macedonia,  Syria,  and  Egypt — were  finally  established. 
But  presently  quarrels  arose  among  these  also,  and  in  a 
long  series  of  wars  their  strength  was  gradually  sapped. 
This  was  the  more  disastrous  since  a  new  power  was  in  the 
meantime  rising  in  the  West.  Rome,  from  being  merely 
the  chief  city  of  a  handful  of  Latin  tribes,  had  gradually 
subdued  most  of  Italy.  She  had  in  turn  conquered  the 
Etruscans,  the  Gauls,  and  the  Samnites.  Only  one  rival 
remained — Carthage.  When  Hannibal,  the  great  Cartha- 
ginian leader,  invited  Macedon  to  join  him  against  Rome, 

154 


FIG,  98.     BRONZE  STATUETTE 
HERMARCHOS(?) 


156  SEVENTH  ROOM 

the  East,  not  recognizing  that  her  own  future  was  at  stake, 
failed  to  intervene.  Hannibal  was  finally  defeated  in  202 
B.C.  Shortly  afterward  Rome  defeated  both  Greece  and 
Asia,  and  thus  became  the  controlling  power  in  the  Medi- 
terranean. For  some  time  she  was  content  with  this 
indirect  control  rather  than  complete  sovereignty,  espe- 
cially as  constant  civil  wars  at  home  demanded  her  atten- 
tion. It  was  not  until  the  time  of  Augustus  (31  B.C.) 
that  the  East  and  West  were  finally  combined  under  one 
great  Roman  empire,  and  with  its  establishment  began  the 
Roman  Imperial  era,  described  in  the  next  section. 

Though  politically  Greece  had  shown  her  incapacity  to 
become  a  strong  unified  power,  the  greatness  of  her  civili- 
zation was  such  that  it  nevertheless  conquered  the  whole 
world.  Not  only  did  new  centers  of  Greek  art  and  learn- 
ing arise  all  over  Asia  Minor  and  Egypt,  but  Rome  herself 
eagerly  adopted  Greek  culture  and  modeled  her  literature 
and  art  on  those  of  Greece. 

The  question  that  concerns  us  here  is:  How  was  Greek 
art  afi'ected  by  this  expansion?  First,  it  may  be  said  that 
it  acquired  a  new  lease  of  life.  At  a  time  when  it  had  passed 
its  prime  and  a  period  of  decline  was  bound  to  set  in,  the 
infusion  of  new  blood  added  several  centuries  to  its  career. 
Its  character,  moreover,  underwent  a  great  change.  The 
aim  of  the  artist  was  no  longer  idealism  or  pure  beauty,  as 
it  had  been  in  the  fifth  and  fourth  centuries,  but  realism. 
This  realism  was  often  tempered  by  the  old  idealistic 
tendencies,  and  many  works  harking  back  to  the  former 
styles  were  still  produced,  especially  in  Greece  proper. 
But  in  the  new  schools  of  Asia  Minor  the  realistic  spirit 
was  strong.  It  showed  itself  in  various  ways:  the  model- 
ing became  more  anatomical  and  scientific,  the  sculptor 
being  anxious  to  copy  nature  in  every  detail;  the  interest 
of  the  artist  was  broadened  to  include  a  larger  variety  of 


HELLENISTIC  PERIOD 


subjects,  and  old  people,  children,  and  even  caricatures 
were  studied  with  new  insight;  also,  a  certain  love  of  dis- 
play, the  natural  outcome  of  realism,  began  to  assert  itself. 
But  though  in  conception 
Hellenistic  works  do  not 
reach  the  former  lofty 
standards,  they  often  ex- 
hibit great  vigor  of  treat- 
ment and  remarkable  skill 
in  execution.  The  vitality 
of  Hellenistic  art  is,  more- 
over, shown  in  its  inde- 
pendence. In  many  of  its 
creations  there  is  a  great 
fertility  of  invention;  and 
even  when  it  borrows  types 
from  earlier  works,  it  often 
transforms  them  so  com- 
pletely as  to  make  them 
its  own. 

In  addition  to  the  large 
marble  sculptures  in  the 
Central  Hall  (described  on 
pp.  234  ff.)  our  collection 
includes  several  smaller 
marble  pieces,  exhibited  in 
this  room. 

The  head  of  a  young  girl 
in  Case  M  shows  the  influ- 
ence of  the  works  of  Praxiteles  both  in  conception  and  in 
execution.  It  is  full  of  gentleness  and  charm,  and  the  sur- 
face has  a  beautiful  evanescent  effect.  There  is,  however, 
a  lack  of  definition  and  finish  about  the  modeling  wholly 
diff"erent  from  fourth-century  work.    In  other  words,  it 


FIG,  99.     BRONZE  STATUETTE 
APHRODITE 


158  SEVENTH  ROOM 

lacks  the  strength  which  earHer  Praxitelean  works  always 
show.  At  the  top  of  the  head  is  a  large  quadrangular 
excision  for  the  insertion  of  another  piece.  It  is  possible 
that  this  consisted  of  a  veil  which  covered  both  the  top  and 
the  back  of  the  head. 

In  the  Hellenistic  epoch  children  became  a  popular  sub- 
ject with  sculptors  and  were  for  the  first  time  properly 
represented.    The  head  of  a  child,  characterized  as  Diony- 


FIG.   100.     BRONZE  STATUETTE 
SLEEPING  EROS 


SOS  by  the  wreath  of  vine  leaves  and  clusters  of  grapes  in 
Case  C      his  hair,  is  a  work  of  exceptional  charm  (Case  C).  The 
round,  soft  contours  of  the  child's  face  are  rendered  in  a 
lifelike  manner,  and  the  modeling  of  the  cheeks  and  of  the 
sensitive  little  mouth  is  of  great  delicacy.    Two  small 
heads  in  the  same  case,  one  of  a  Satyr,  the  other  of  a 
bearded  man,  are  carefully  worked  and  full  of  life. 
Bronzes—      The  bronzes  in  our  collection  include  a  number  of  excel- 
Statuettes   j^^^  examples  of  this  period,  and  well  illustrate  the  various 
trends  of  Hellenistic  art.    A  statuette  of  an  old  bearded 
man  (fig.  98),  to  be  identified  perhaps  with  Hermarchos,  is 
probably  the  finest  Greek  portrait  on  a  small  scale  now  in 


HELLENISTIC  PERIOD 


159 


existence  (Case  H).  The  dignity  of  the  pose  and  the  life-  Case  H 
like  rendering  of  the  figure  combine  to  make  it  a  master- 
piece of  its  kind.  The  subject  is  treated  with  a  mingling 
of  idealism  and  realism.  The  features  are  very  individual, 
the  skin  where  exposed  is  represented  as  shriveled  by  old 
age,  while  the  prominence  of  the  abdomen  is  faithfully  ren- 
dered. But  in  spite  of  this  marked 
realism  with  regard  to  details,  the 
figure  as  a  whole  is  full  of  force 
and  dignity,  and  the  general  con- 
ception is  more  suggestive  of  full- 
size  sculpture  than  of  a  work  of 
small  dimensions.  Moreover,  the 
arrangement  of  the  drapery  in  a 
few  sweeping  folds  contributes  to 
the  effect  of  quiet  simplicity.  The 
figure  was  originally  mounted  on 
an  Ionic  bronze  column  of  which 
only  the  capital  and  the  core  of 
the  shaft  are  preserved. 

The  probable  identification  of 
the  statuette  as  a  portrait  of  Her- 
marchos  is  based  on  its  close  re- 
semblance to  a  bust  from  Hercu- 

laneum  in  the  Naples  Museum,  which  is  inscribed  with 
his  name  (see  Museum  Cast  No.  1047).  In  execution, 
however,  our  statuette  is  greatly  superior,  having  all  the 
spirit  and  animation  of  an  original  Greek  work,  while  the 
Herculaneum  bronze  is  a  somewhat  indifferent  Roman 
copy.  Our  information  about  Hermarchos  is  only  scanty, 
none  of  his  writings  having  survived;  but  we  know  that 
he  succeeded  Epicurus  (see  p.  239)  as  head  of  the  Epi- 
curean school  of  philosophy  about  270  B.C.,  which  date 
would  agree  with  the  general  style  of  our  statuette. 


FIG.  lOI 
BRONZE  STATUETTE 
A  GROTESQUE  FIGURE 


i6o 


SEVENTH  ROOM 


A  Statuette  of  Aphrodite  (fig.  99)  in  the  attitude  of  the 
Knidian  Aphrodite  of  Praxiteles  (see  Museum  Casts  Nos. 
697,  698)  is  an  important  piece  both  on  account  of  its  fine 

Case  K  execution  and  its  uncommonly  large  size  ^  (Case  K).  The 
graceful  proportions  of  the  body  and  the  delicacy  of  the 
face  can  give  us  some  idea  of  the  powerful  charm  that  was 
exercised  by  its  famous  original.  The  surface,  however, 
is  considerably  corroded,  so  that  the  beautiful  modeling 
which  can  be  seen  on  the  better-preserved  parts  (such  as 
the  left  forearm,  the  under  side  of  the  right  forearm,  and 
parts  of  the  back),  does  not  come  out  to  its  full  value  on 
the  rest  of  the  statuette.  There  can  be  no  doubt,  however, 
that  the  execution  is  Greek,  not  Roman;  probably  a  late 
Greek  work  of  a  school  of  Asia  Minor. 
A  charming  representation  of  the  god  Eros  is  a  statuette 

Case  Q      which  shows  him  sleeping  on  a  rock  (fig.  100;  Case  Q). 

The  complete  relaxation  of  the  child  is  well  portrayed,  and 
the  modeling,  though  not  of  the  finest  order,  is  fresh  and 
careful.  The  conception  of  a  sleeping  Eros  originated  in 
the  Hellenistic  period  and  is  characteristic  of  the  more 
personal  view  of  that  deity  prevalent  during  that  and  later 
times.  It  was  a  favorite  device  for  tombstones,  though 
its  use  was  not  limited  to  this  purpose. 

A  statuette  of  the  drunken  Herakles  is  an  excellent 

Case  S  product  of  Hellenistic  art  (Case  S).  He  is  represented 
reeling  backward,  his  head  thrust  forward,  his  legs  wide 
apart.  Both  arms  are  missing,  but  from  a  better-pre- 
served statuette  of  this  type  in  the  Parma  Museum,  we 
learn  that  the  right  arm  was  extended,  the  hand  probably 
holding  a  cup,  and  that  the  left  was  lowered.  Such  a  sub- 
ject, showing  the  less  heroic  side  of  Herakles,  would  never 
have  been  attempted  by  an  earlier  artist;  but  to  the  sculp- 
tor of  our  statuette  it  was  a  theme  full  of  new  possibilities, 

1  Height,  I  ft.  8H  in. 


HELLENISTIC  PERIOD 


l6l 


and  well  adapted  to  show  off  the  strong,  muscular  body  of 
the  hero — ^which,  indeed,  he  did  with  great  ability.  It 
should  be  noted,  however,  that  the  drunkenness  of  Herakles 
is  suggested  only  in  the  pose;  there  is  nothing  in  the  ex- 
pression of  the  face  to  indicate  it — and  this  is  characteris- 
tic of  the  mingled  realism  and  idealism  of  Hellenistic  art. 

A  number  of  smaller  bronze  statuettes  will  be  found  in 
Case  C.  The  statuette  of  a 
grotesque  figure,  on  the  mid- 
dle shelf,  is  a  masterpiece  of 
Hellenistic  bronze  work  (fig. 
loi).  The  execution  is  both 
careful  and  spirited;  and  the 
rendering  of  the  face  with  its 
half-leering,  half-pathetic  ex- 
pression, gives  a  very  human 
interest  to  this  deformed  crea- 
ture. Moreover,  technically  it 
is  of  great  importance,  illustrat- 
ing as  it  does  the  extreme  care  with  which  some  ancient 
bronzes  were  worked  and  decorated.  Both  forearms  (now 
missing)  were  evidently  made  in  separate  pieces  and  in- 
serted. The  whites  of  the  eyes  are  of  silver;  the  irises 
and  pupils  have  fallen  out,  but  were  probably  of  some 
other  material.  The  two  protruding  teeth  are  of  silver; 
the  hair  and  whiskers  are  covered  with  a  thin  foil  of  niello, 
and  the  little  buttons  on  the  sleeves  of  the  tunic  are  also 
of  niello.  Though  the  black  niello  can  now  hardly  be  dis- 
tinguished from  the  dark  patina,  it  must  originally  have 
been  most  effective  when  contrasted  with  the  golden  color 
of  the  bronze. 

Two  diminutive  statuettes  on  the  same  shelf  are  worked 
with  astonishing  freshness  and  vigor,  considering  their 
small  size.    One  shows  Herakles  struggling  with  the  Ne- 


Case  C 


FIG.   102.     BRONZE  RELIEF 
AN  OLD  SATYR 


SEVENTH  ROOM 


mean  lion,  the  other  a  dancing  Satyr,  of  the  same  type  as 
the  famous  bronze  in  the  National  Museum  of  Naples. 
The  stockily  built  man  in  a  declamatory  pose  probably 
represents  an  actor  reciting.  The  statuette  of  Antiocheia, 
the  personification  of  the  city  of  Antioch,  and  one  of  a 
Satyr  of  Pergamene  type,  are  good  Roman  copies  of  Hel- 
lenistic works;  and  the  group  of  wrestlers  and  those  of 
youths  carrying  the  dead  body  of  a  companion,  are  decora- 
tive handles  from  Etruscan  cistae  or  toilet-boxes. 

Besides  these  statuettes,  our  collection  includes  a  num- 
ber of  decorative  pieces,  as  well  as  implements  and  utensils 
in  bronze.  In  the  same  case  with  the  statuettes,  on  the 
middle  shelf,  is  a  small  plaque  with  three  goats  in  low  relief, 
and  a  Greek  mirror  with  ornamental  cover  of  the  same 
form  as  those  in  the  preceding  sections  (pp.  94,  116,  136). 
The  relief  on  the  cover  represents  Eros  as  a  nude,  chubby 
infant  of  Hellenistic  type  with  wings  spread.  On  the  bot- 
tom of  the  case  are  exhibited  the  later  type  of  Italian  mir- 
rors referred  to  above  (see  p.  138),  with  handle  cast  in  one 
piece  with  the  disk  and  terminating  generally  in  the  head 
of  an  animal.  Such  mirrors  have  been  found  chiefly  at 
Praeneste,  and  were  therefore  probably  both  invented  and 
mainly  manufactured  there.  Though  in  many  respects  to 
be  distinguished  from  the  earlier  Etruscan  mirrors  (see  p. 
138),  they  must  still  be  regarded  as  intimately  connected 
with  them.  They  date  from  the  end  of  the  fourth  and  the 
third  centuries  B.C. 

The  backs  of  these  mirrors  are,  as  in  the  earlier  examples, 
decorated  with  engraved  scenes,  but  these  are  mostly  of 
careless  workmanship  and  the  range  of  subjects  is  limited. 
Favorite  representations,  repeated  again  and  again,  are  the 
two  Dioskouroi,  generally  accompanied  by  two  women,  and 
the  winged  goddess  Lasa.  Several  such  are  in  our  collec- 
tion.   By  far  the  finest  example  we  have  is  one  decorated 


HELLENISTIC     PERIOD  163 

with  a  scene  of  Aphrodite  fishing,  with  Eros  aiding  her. 
The  landscape  is  suggested  by  the  rocks  on  which  the  god- 
dess is  seated,  the  palm  tree  between  her  and  Eros,  and  the 
flowering  plants.  The  drawing  is  graceful  and  lifelike. 
This  is  undoubtedly  earlier  than  the  other  specimens,  be- 
longing probably  to  the  fourth  century,  and  if  not  exe- 


FIG.    103.     TERRACOTTA  STATUETTES 
ASIATIC  TYPES 


cuted  by  a  Greek  artist,  was  certainly  directly  inspired  by 
a  Greek  original.  Inscriptions  are  much  rarer  on  these 
mirrors  than  in  the  earlier  Etruscan  ones;  and  they  are 
sometimes  in  Latin,  which  was  the  language  current  at 
Praeneste.  This  is  the  case  with  one  of  our  mirrors  with 
a  representation  of  the  union  of  Juno  and  Hercules,  in  their 
character  as  deities  of  matrimony. 

A  few  decorative  bronze  pieces  will  be  found  in  Case  A.  Bronzes— 

Miscella- 

Especially  noteworthy  are  two  disks  with  finely  worked  neous 
reliefs,  one  of  a  young  Satyr,  the  other  of  an  old  bearded 


164 


SEVENTH  ROOM 


Satyr  (fig.  102),  which  originally  served  as  decorations  in 
horse-trappings.  They  were  found  at  Elis  with  six  other 
pieces  now  in  the  British  Museum.  The  faces  of  the  Satyrs 
are  modeled  with  great  realism,  every  detail  being  care- 
fully rendered;  the  eyelashes,  for  instance,  are  indicated  by 
delicately  incised  lines  on  the  lids.  A  pair  of  ornaments, 
each  in  the  form  of  a  mule's  head,  are  also  pieces  of  fine 
workmanship.  Such  ornaments  were  used  to  decorate  the 
upper  front  corners  of  the  curved  rests  placed  on  couches 
of  late  Greek  and  early  Imperial  type. 

The  other  bronze  utensils  of  this  period  are  placed  in 
Case  N  Case  N.  They  include  an  Etruscan  candelabrum,  a  lamp 
on  a  stand,  four  Italian  helmets  of  a  type  found  on  the 
battle-field  of  Cannae  (216  B.C.),  an  armored  belt  said  to 
have  been  found  in  Tuscany,  a  sword,  a  colander,  and  a 
meat-hook. 

coTtaT  custom  of  fashioning  small  figures  in  painted  terra- 

cotta, which,  as  we  saw,  had  become  very  popular  in  the 
fourth  century,  was  continued  in  Hellenistic  times.  The 
chief  center  for  their  manufacture,  however,  shifted  from 
Tanagra  to  regions  outside  Greece  proper.  The  little  town 
of  Myrina  in  Asia  Minor,  for  instance,  has  been  made 
famous  by  the  extensive  discoveries  made  there  during  ex- 
cavations in  the  years  1 880-1 882.  Tarentum  in  South 
Italy  likewise  proved  a  particularly  fruitful  field. 

Our  collection  includes  specimens  from  Myrina,  Smyrna, 
Pontus,  Heracleia,  and  especially  from  Tarentum  (Cases 

Cases  ^ 

B,  J,  L  B,  J,  L).  A  comparison  between  these  and  the  Tanagra 
examples  will  show  the  difi'erences  which  the  Hellenistic 
spirit  produced  in  these  little  statuettes.  Instead  of  the 
quiet,  gentle  women,  youths,  and  children  of  the  preceding 
epoch,  we  have  mostly  figures  in  lively  attitudes,  often  of 
mythological  character  (fig.  103).  Some  types  are  indeed 
copied  more  or  less  directly  from  the  Tanagra  figures;  but 


HELLENISTIC     PERIOD  165 

even  in  these  a  new  striving  for  effect  is  generally  notice- 
able. Among  our  Asiatic  examples  (Case  J,  North  Side) 
the  finest  is  a  flying  Victory  in  which  the  forward  sweep 
of  the  figure  has  an  almost  sculpturesque  grandeur.  A 
little  boy  with  a  cock,  two  comic  actors,  and  a  Priapos,  the 
god  of  fertility,  carrying  an  armful  of  fruit,  are  other  note- 
worthy pieces. 


FIG.    104.     TERRACOTTA  STATUETTES 
TARENTINE  TYPES 


From  Tarentum  we  have  almost  one  hundred  pieces, 
including  several  tomb  groups.  These  are  not,  as  is  the 
case  in  the  other  figures  in  our  collection,  selected  exam- 
ples; but  they  represent  a  fairly  complete  series  of  the  most 
characteristic  Tarentine  types  (see  fig.  104).  We  can  see 
what  kinds  of  objects  were  placed  together  in  a  tomb 
(south  side  of  Case  L);  and  we  note  the  great  difference 
between  careful  work,  in  which  details  were  gone  over  with 
a  finishing  tool,  and  inferior  products  left  as  they  came  out 
of  their  moulds.    Among  the  finer  examples  are  included 


SEVENTH  ROOM 


several  draped  female  figures,  some  statuettes  of  Aphro- 
dite, and  especially  two  dancing-girls,  who  in  grace  and 
simplicity  of  pose  almost  rival  their  Tanagra  sisters  (Cases 
J  and  L).  Besides  statuettes  there  are  a  number  of  ante- 
fixes,  perforated  disks,  and  various  moulds  (chiefly  in 
Case  B). 

An  Etruscan  frieze  decorated  with  a  brilliantly  colored 
relief  is  an  interesting  piece,  dating  probably  from  the  third 
Top  of  century  B.C.  (top  of  Case  R).  The  decoration  consists  of 
^^"^  ^  a  marine  scene,  with  sea-horses  and  dolphins  leaping  amid 
seaweed  and  shells.  Below,  a  conventional  wave  pattern 
indicates  the  sea.  There  are  in  all  seven  slabs,  alike  in 
every  detail,  so  that  we  may  assume  that  they  were  made 
from  the  same  mould.  The  colors — red,  blue,  and  yellow 
— are  still  well  enough  preserved  to  give  us  some  concep- 
tion of  the  gay  effect  of  the  whole.  The  frieze  probably 
once  ornamented  an  Etruscan  tomb-chamber. 

Pedestals       A  number  of  Etruscan  urns,  used  for  holding  the  ashes 

E  u 

Top  of  dead,  are  also  included  in  our  collection  (Pedestals 

Cases F,N  E  and  U,  and  top  of  Cases  F  and  N).  In  shape  they  are 
miniature  sarcophagi,  the  cover  being  ornamented  with  a 
recumbent  figure,  while  the  body  has  a  gaily  painted  relief 
decoration.  The  subjects  have  mostly  some  reference  to 
death,  either  directly,  when  a  dying  person  is  represented, 
or  indirectly,  in  mythological  scenes  of  fatal  combats. 
The  reliefs  on  the  examples  in  our  collection  include  two 
combats  of  heroes  (perhaps  Eteokles  and  Polyneikes)  and 
two  battle-scenes  of  a  hero  fighting  with  a  ploughshare. 
The  latter  may  be  Echetlos,  who  we  are  told  by  Pausanias 
(I,  32)  appeared  in  the  battle  of  Marathon  to  help  the 
Athenians  against  the  Persians  and  "  slaughtered  many  of 
the  barbarians  with  a  plough."  One,  which  is  of  stone, 
not  terracotta,  has  a  representation  of  a  woman  on  her 
death-bed.    Several  of  the  urns  have  Latin  inscriptions  in 


HELLENISTIC     PERIOD  1 67 

Etruscan  letters,  giving  the  names  of  the  deceased.  The 
style  of  the  reliefs  is  late  Etruscan  of  the  third  century  B.C. 
The  facts  that  many  of  the  compositions  occur  over  and 
over  again  and  that  the  work  is  generally  careless  show 
that  they  were  regarded  as  rather  cheap  products.  The 
gaudy  paint  preserved  on  some  of  the  examples  makes 
them  rather  more  effective  than  they  otherwise  would  be. 

On  top  of  Case  N  are  the 
head  of  a  youth,  almost 
life  size,  and  a  fme  antefix, 
decorated  with  a  relief  of 
two  goats'  heads  butting, 
which  rise  from  akanthos 
leaves  and  are  surmounted 
by  a  palmette  (see  tail- 
piece, p.  174).  The  sur- 
face of  the  leaves  and  the  fig.  105.  egnatian  cup 
shaggy  hair  of  the  goats 

are  particularly  well  rendered.    Extensive  traces  of  paint 
are  still  preserved. 

The  upper  part  of  a  life-size  statue  of  a  woman  (Pedestal  Pedestal  O 
O)  is  another  interesting  Etruscan  work  of  this  period,  and 
further  shows  the  popularity  of  baked  clay  with  the  sculp- 
tors of  Etruria.  The  lady  is  much  bedecked  with  jewelry 
— diadems,  necklaces,  pendants,  and  armlets,  of  the  famil- 
iar Etruscan  types,  originals  of  which  will  be  found  in  our 
collection  of  Etruscan  jewelry  in  Gallery  II  :  C  32. 

We  have  seen  how  during  the  fourth  century  potters  Vases 
walked  more  or  less  in  the  footsteps  of  their  predecessors, 
and  produced  painted  vases  on  the  same  general  principles, 
if  not  of  the  same  quality,  as  the  Athenian  red-figured  fab- 
ric. The  Hellenistic  potters,  on  the  other  hand,  tried  new 
paths.  The  most  important  of  these  were  the  use  of  other 
colors  besides  the  black  glaze  covering  the  surface  of  the 


SEVENTH  ROOM 


vase;  the  painting  of  naturalistic  decorative  designs  over 
the  black  glaze  or  other  body  color,  instead  of  the  figured 
scenes  reserved  in  the  red  clay;  and  the  use  of  relief  decora- 
tion in  imitation  of  metal  ware.  All  of  these  techniques 
had  already  been  practised  before  Hellenistic  times,  but 
their  general  adoption  for  certain  classes  of  vases  was  new. 

The  description  of  a  few  of  these  classes  represented  in 
our  collection  will  give  an  idea  of  the  general  character  of 

the  pottery  of  this 
epoch. 

In  Case  N  have 
been  assembled  most 
of  the  fabrics  in  which 
the  vases  are  entirely 
covered  with  black 
glaze.  On  the  three 
upper  shelves  of  the 
left  side  of  the  case  are 
those  commonly  called 
Egnatian,  since  many 
FIG.  1 06.   cALENiAN  BOWL  of  them   have  been 

found  in  Egnazia  in 
Apulia  (see  fig.  105).  Garlands,  birds,  female  heads,  masks, 
and  similar  decorations  are  painted  in  white,  yellow,  and  red 
over  the  black  glaze.  The  bodies  of  the  vases  are  sometimes 
fluted,  which  shows  their  derivation  from  metal  ware.  On 
the  bottom  of  the  same  side  of  the  case  are  vases  decorated 
with  stamped  and  relief  ornaments.  Notable  among  them 
are  several  "lamp-feeders."  On  the  right  side  of  the  case, 
on  the  wall,  are  several  examples  of  the  so-called  Calenian 
fabric.  These  consist  of  cups  entirely  covered  with  black 
glaze  and  ornamented  on  the  inside  with  a  frieze  or  central 
medallion.  From  the  potters'  stamps  which  occur  on  some 
of  the  vases  (there  are  none  among  ours)  we  learn  that  they 


HELLENISTIC     PERIOD  1 69 

were  produced  at  the  end  of  the  third  or  the  beginning  of 
the  second  century  B.C.  The  subjects  on  our  examples 
include  friezes  of  chariots  with  divinities  (fig.  106),  Herakles 
and  lolaos  fighting  the  Lernaean  Hydra,  a  Gorgoneion,  a 
crab  and  a  frog,  and  female  heads  and  busts. 

A  collection  of  nineteen  vases  in  Case  G  is  of  special  Case  G 
interest  as  having  been  found  in  one  grave,  probably  at 
Teano,  in  Campania.    They  are  likewise  covered  with 
black  glaze,  and  are  ornamented  with  stamped  and  incised 
as  well  as  painted  decorations  (see  e.g.  head-band,  p.  154). 


FIG.    107.     VASES   FROM  HADRA,  EGYPT 


The  vases  consist  of  a  large  water-jug,  a  number  of  plates, 
deep  and  shallow,  various  jugs,  and  a  cruet-stand.  They 
probably  constituted  a  dinner  service. 

A  class  of  Hellenistic  pottery  which  is  unusually  well 
represented  in  this  Museum  is  that  of  "Hadra"  vases  (fig. 
107;  Cases  P,  R,  T).    The  name  is  derived  from  the  fact  Cases 

PR 

that  they  were  first  found  in  large  quantities  at  Hadra,  the  '  ' 
eastern  necropolis  of  Alexandria.  Contrary  to  the  regular 
custom  in  Greece  they  were  used  to  contain  the  ashes  of 
the  dead.  An  interesting  feature  is  the  addition  of  in- 
scriptions on  som.e  examples,  giving  the  name  of  the  de- 
ceased and  the  date  of  his  burial.  From  these  we  learn 
that  the  vases  belong  to  the  third  century  B.C.  and  were 
used  for  the  burial  of  Greeks  who  died  in  Alexandria.  The 


1 70  SEVENTH  ROOM 

majority  of  them  are  of  the  hydria  (water-jar)  shape. 
The  decoration  consists  chiefly  of  ornamental  naturahstic 
motives  such  as  sprays  of  ivy  and  laurel,  grapevines,  pal- 
mettes,  and  flowers,  and  occasionally  of  Erotes  and  animals 
— some  of  marked  decorative  quality.  They  are  painted 
either  in  blackish  brown  directly  on  the  natural  clay,  or  in 
tempera  in  a  variety  of  bright  colors  on  a  coating  of  white 
or  yellow.  The  tempera  designs  have  unfortunately  largely 
disappeared,  owing  to  the  delicacy  of  this  technique.  One 
of  the  finest  is  a  head  of  Medusa  painted  as  a  medallion  on 
the  body  of  a  vase  (Case  T). 

A  number  of  large  ornamental  vases,  elaborately  deco- 
rated with  reliefs  and  statuettes  in  the  round,  have  been 
found  at  Canosa  and  other  places  in  Southern  Italy.  They 
form  an  extreme  instance  of  the  employment  of  plastic 
decorations  by  Hellenistic  potters.  Three  fairly  complete 
examples  have  been  placed  on  top  of  Cases  P,  R,  T  (see 
fig.  1 08).  They  are  painted  like  contemporary  statuettes, 
that  is,  covered  with  a  white  coating  on  which  the  other 
colors  were  applied.  The  sculptural  decorations  consist 
of  female  statuettes  of  conventional  types,  fore  parts  of 
horses,  Nereids,  and  a  spirited  hunting  scene. 

Besides  these  three  whole  vases,  we  have  four  separate 
reliefs  from  similar  vases,  representing  scenes  of  combat 
Case  F       both  on  foot  and  on  horseback  (fig.  109;  Case  F,  top  shelf). 

They  are  remarkable  for  the  vigor  of  their  compositions 
and  the  preservation  of  their  colors.  From  them  we  can 
learn  the  brilliant  appearance  of  some  of  these  vases. 

In  the  same  case  are  a  number  of  vases  of  this  period,  not 
all  assignable  to  special  fabrics,  either  painted  in  tempera 
or  left  in  the  natural  color  of  the  clay.  A  number  of  these 
have  decorations  in  relief,  generally  of  rough  execution, 
designed  chiefly  for  general  efi'ect.  A  conspicuous  piece  is 
a  large  pyxis  or  toilet-box  (on  the  bottom  of  the  right  side), 


HELLENISTIC     PERIOD  I7I 

with  a  relief  on  the  cover  showing  two  lovers,  gaily  painted 
in  white,  pink,  red,  blue,  and  green.  A  small  bowl  (on  the 
second  shelf  from  the  top,  right  side)  bears  the  mark  of 
the  potter  C.  Popilius.  It  belongs  to  a  group  which  is 
generally  regarded  as  an  Italian  imitation  of  the  Greek 
Megarian  Bowls."  Sev- 


eral pieces  are  moulded  in 
the  shapes  of  animals  or 
human  figures.  Such  are 
a  pygmy  carrying  a  crane, 
a  dog,  a  cock,  and  a  duck. 

1  n  Room  1 1 1  are  shown 
a  number  of  glass  vases  of 
the  type  found  in  Greek 
and  Etruscan  tombs  of  the 
sixth  to  fourth  centuries 
(see  pp.  84-85).  They 
are  modeled  by  hand  and 
decorated  with  variegated 
patterns  incorporated  in 
the  body  of  the  vase.  This 
same  technique  was  con- 
tinued during  the  Hel- 


lenistic period  until  the         fig.  108.  canosa  vase 
second  or  first  century 

B.C.,  when  the  invention  of  the  blowing-tube  worked  a 
revolution  in  the  manufacture  of  glass.  The  Hellenistic 
glasses  (shown  in  Case  D),  though  technically  identical  Case  D 
with  the  earlier  examples,  can  be  distinguished  from  them 
both  by  their  shapes  and  by  their  coarser  execution.  They 
are  often  supplied  with  elaborate  handles. 

In  the  gems  of  this  epoch  we  can  distinguish  two  distinct  Engraved 
classes:  those  produced  by  Greeks  in  the  Eastern  Mediter-  Oreek^ 
ranean,  and  those  produced  in  Italy  by  the  Romans.  The 


172  SEVENTH  ROOM 

Greek  gems  exhibit  the  Hellenistic  style  familiar  from  the 
other  monuments  of  the  period.  Instead  of  the  perfo- 
rated scarabs  and  scaraboids  of  the  preceding  centuries,  the 
unperforated  ring-stone,  generally  flat  on  one  side  and  con- 
vex on  the  other,  became  the  accepted  form.  The  choice 
of  stones  is  much  larger  than  before.  Eastern  stones  now 
being  imported  in  large  quantities.  Glass  paste  is  a  fre- 
quent substitute.  The  specimens  in  our  collection  (Case 
Case  A  A)  include  figures  of  Apollo  and  Aphrodite  of  rather  elon- 
gated proportions,  several  representations  of  the  Nereid 
Galene  swimming,  and  heads  of  Herakles  and  Serapis. 
Some  of  the  stones  are  still  set  in  their  original  rings  of  gilt 
bronze. 

A  great  technical  innovation  introduced  in  this  period  is 
the  cameo.  The  representation,  instead  of  being  engraved 
on  the  surface  of  the  gem,  was  carved  in  relief.  Such 
cameos  naturally  did  not  serve  as  seals,  like  the  intaglios, 
but  were  used  purely  for  decorative  purposes  on  vases, 
utensils,  musical  instruments,  and  jewelry.  A  fragment 
of  a  sardonyx  cameo  of  beautiful  workmanship  is  our  only 
example  of  this  period.  It  represents  a  Nereid  riding  on 
a  Triton. 

Engraved  The  Italic  gems  are  of  special  interest  to  us  in  that  they 
haHc^~  form  our  chief  source  of  knowledge  for  the  early  Roman 
art  of  the  Republican  period.  We  can  distinguish  two 
styles,  one  imitating  Etruscan  art,  the  other  the  Greek 
Hellenistic  art,  both  dating  from  the  third  and  second  cen- 
turies B.C.  The  gems  of  the  former  group  show  their 
dependence  on  Etruscan  art  in  style  and  motive.  Both 
the  archaic  and  the  fully  developed  style  are  copied  with 
more  or  less  success,  but  always  in  the  dry,  unimaginative 
manner  peculiar  to  Roman  work.  Ring-stones  are  in 
general  use.  The  subjects  are  largely  borrowed  from  those 
which  occur  on  Etruscan  scarabs.    Heroes  are  particularly 


HELLENISTIC     PERIOD  1 73 

popular,  especially  those  from  the  Theban  and  Trojan 
legends.    Among  our  stones  are  representations  of  Ajax 
carrying  the  dead  Achilles,  and  of  the  Spartan  hero  0th- 
ryades  writing  the  word  v  i  c  i  ("1  conquered")  on  a 
shield  of  the  trophy  he  erected  before  dying.  Several 
show  artisans  at  work.    Religious  subjects  also  play  an 
important  part,  particularly  sacrificial  scenes  and  the  con- 
sultation of  oracles.  The 
inscriptions  no  longer  re- 
fer to  the  person  repre- 
sented, as  in  the  Etruscan 
scarabs,  nor  do  they  give 
the  name  of  the  artist,  as 
in  the  Greek  gems,  but 
designate  the  owner  of 
the  seal,  generally  in  ab- 
breviated form. 

The  gems  of  the  Hel-  '"9.  relief 

FROM  A  CANOSA  VASE 

lenizing  group  are  of  a 

much  freer  style.  The  subjects  of  the  representations  are 
characteristic  of  their  origin.  The  heroic  and  religious 
subjects  prevalent  in  the  Etruscanizing  group  take  a 
second  place,  and  Erotic  and  Bacchic  figures  now  become 
popular.  Subjects  taken  from  daily  life,  animals,  and 
simple  objects  and  utensils  are  likewise  common.  Our 
stones  include  several  representations  of  Eros,  heads  and 
masks,  animals,  and  fantastic  combinations  commonly 
called  grylloi.  An  interesting  scene  is  the  Roman  she- 
wolf  with  the  twins,  Romulus  and  Remus,  represented 
under  the  fig-tree,  with  Roma  and  Faustulus  watching 
them.  The  inscriptions  refer,  as  in  the  other  stones,  to 
the  owners  of  the  seal. 

The  conquests  of  Alexander  the  Great  brought  to  Greece  jewelry 
a  great  quantity  of  Eastern  precious  stones.    This  had  its 


1 74  SEVENTH  ROOM 

direct  effect  on  jewelry,  for  the  addition  of  such  stones 
became  popular,  and  striking  results  were  thereby  obtained 
with  little  labor  and  trouble.  The  increasing  love  for  such 
colored  effects  was  also  shown  in  the  frequent  use  of  glass 
beads  as  cheap  substitutes  for  precious  stones.  It  was 
natural  that  the  work  in  gold,  which  now  occupied  a  sec- 
ondary place,  should  begin  to  deteriorate.  These  charac- 
teristics can  be  seen  in  the  examples  in  our  collection  (in 
^WC^ 2  ^^^^  Room,  Gallery  II:  C  32).  Thus  a  pair  of  earrings, 
ornamented  with  garnets  and  glass  beads  and  with  a  cock 
in  white  enamel,  is  extremely  decorative,  but  close  exami- 
nation will  show  that  the  execution  is  careless.  The  same 
is  true  of  a  necklace  with  pearls  alternating  with  gold  beads, 
said  to  have  come  from  Asia  Minor.  Several  pieces  worked 
entirely  in  gold,  according  to  older  traditions,  but  inferior 
in  execution  to  fourth-century  work,  were  supposedly 
found  together  in  a  tomb  at  Cumae. 


EIGHTH  AND  NINTH  ROOMS 
ROMAN  IMPERIAL  PERIOD 

31  B.C.  TO  FIFTH  CENTURY  A.D. 

w  ITH  the  triumph  of  Augustus  over  his  rivals  and 
his  accession  to  the  head  of  the  Roman  state  began  the 
great  era  of  the  Roman  Empire.  This  empire  embraced 
the  whole  Mediterranean  world  from  the  Euphrates  to  the 
Atlantic.  On  the  south  it  was  bounded  by  the  Sahara,  on 
the  north  by  the  Danube  and  the  Rhine.  Besides  Asia 
Minor  and  Northern  Africa,  it  included  practically  the 
whole  of  Europe,  except  the  countries  now  known  as  Ger- 
many, Scandinavia,  and  Russia.  Never  before  had  so 
many  heterogeneous  peoples  been  brought  under  one  rule. 
It  was  a  task  which  Greece  under  Alexander  the  Great  had 
conceived,  but  not  accomplished.  Unlike  Greece,  how- 
ever, Rome  had  all  the  qualities  that  make  for  empire- 
building.  Her  genius  found  its  expression  in  the  art  of 
government,  in  organization,  and  in  the  making  of  laws. 
Out  of  the  chaos  which  had  resulted  from  one  hundred 
years  of  civil  war  she  succeeded  in  restoring  peace  and 
order  throughout  her  vast  dominions.  Even  to  this  day 
we  can  see  traces  of  her  labors.  In  the  remote  corners  of 
her  empire  we  find  remains  of  the  strong  walls  and  for- 
tresses which  she  built  for  protection  against  invasion,  of 

175 


1 76        EIGHTH     AND     NINTH  ROOMS 

the  aqueducts  by  which  she  supphed  the  cities  with  water, 
and  of  the  bridges,  temples,  gymnasiums,  market-places, 
baths,  and  amphitheaters,  which  she  erected  for  the  benefit 
and  amusement  of  the  people. 

It  is  not  surprising  that  a  people  whose  gifts  lay  in 
capacity  for  organization  and  statecraft,  whose  characters 
had  been  moulded  by  the  hard  life  of  the  early  Republican 
days,  did  not  excel  also  in  artistic  imagination.  The  two 
fields  are  too  fundamentally  different  to  be  often  com- 
bined. That  Roman  art  and  literature  stand  as  high  as 
they  do  is  chiefly  due  to  the  fact  that  they  are  modeled 
on  those  of  Greece;  and  the  Romans  deserve  full  credit 
for  recognizing  the  superiority  of  Greek  intellect  and  art, 
and  of  appropriating  them  for  their  own.  This  appro- 
priation was  accomplished  in  different  ways.  In  literature 
it  consisted  chiefly  in  borrowing  both  the  outward  forms 
and,  largely,  the  thoughts  of  Greek  authors,  and  welding 
them  successfully  into  a  prose  and  poetry  of  distinctly 
Roman  character.  In  art  the  process  was  not  dissimilar. 
First,  Greek  works  of  art  were  imported  into  Italy  whole- 
sale to  adorn  public  places  and  private  villas.  Then,  as 
the  supply  of  original  products  began  to  wane,  Greek  works 
were  copied,  either  as  closely  as  the  copyist  could,  or  with 
alterations  and  adaptations.  Such  works  were  produced 
either  by  Greek  artists,  trained  in  the  Greek  traditions, 
who  came  to  Rome  to  work  for  Roman  patrons,  or  by 
native  workmen  following  in  the  same  footsteps. 

With  such  an  overwhelming  weight  of  influence,  it  is 
natural  that  the  greater  part  of  the  art  of  the  Romans,  at 
least  from  the  time  of  Augustus,  was  largely  an  echo  of 
that  of  their  great  teacher  Greece.  And  though  we  miss 
in  their  products  the  spirit  and  vitality  of  Greek  work, 
we  must  not  forget  that  we  owe  to  them  much  of  our 
knowledge  of  Greek  art;  for  through  them  we  have  re- 


ROMAN      IMPERIAL     PERIOD  1 77 

productions  of  many  works  which  would  otherwise  be 
entirely  lost. 

In  one  branch  of  art,  however,  their  own  native  quali- 
ties helped  the  Romans  to  achieve  real  greatness,  viz. :  that 
of  portraiture.  Here  their  instinct  for  realism  and  the 
great  importance  they  placed  on  character  fitted  them  for 
the  eminent  results  they  obtained,  and  the  large  number  of 
portraits  which  have  survived  shows  that  this  was  a  natu- 
ral expression  of  their  gifts.  Another  characteristically 
Roman  form  of  art  was  the  representation  of  historical 
events — not  in  an  ideal  way,  as  had  been  done  by  the 
Greeks,  but  with  great  literalness.  Triumphal  arches, 
columns,  and  market-places  were  decorated  with  reliefs 
of  processions,  incidents  from  campaigns,  and  sacrificial 
scenes,  which  told  the  stories  of  Roman  conquest  and  re- 
ligion. Decorative  art,  moreover,  attained  a  high  level  in 
the  early  years  of  the  Roman  Empire,  though  it  never 
reached  the  mastery  of  Greek  design.  It  can  be  studied 
in  marble  reliefs,  in  painted  wall  decorations,  and  in  many 
products  of  pottery  or  metalwork. 

The  larger  Roman  sculptures  in  our  collection  are  ex- 
hibited in  the  Central  Hall  and  in  the  vestibule  leading  to 
the  hall  (pp.  242  ff.).  The  rest  of  our  Roman  material 
is  shown  in  the  Eighth  and  Ninth  Rooms. 

EIGHTH  ROOM 

In  our  description  of  the  art  of  the  Greek  classical  periods  Paintings 
one  important  branch  has  so  far  had  to  be  omitted — the 
art  of  painting.  We  have  been  able  to  see  only  a  faint 
reflex  of  it  in  the  vase-paintings  and  a  few  painted  grave- 
stones; but  the  wall  decorations  and  panels,  of  which  we 
hear  so  much  in  Greek  literature,  are  lost  to  us.  When  we 
come  to  the  Roman  period  we  are  more  fortunate.  A  large 
number  of  frescoes  which  served  to  decorate  the  plastered 


1 78        EIGHTH     AND     NINTH  ROOMS 

walls  of  houses  have  been  preserved  through  the  famous 
eruption  of  Mount  Vesuvius  in  79  A.D.  This  eruption 
buried  Pompeii  and  the  neighboring  villas  with  lapilli  and 
ashes,  and  thus  saved  them  for  future  generations. 

Most  of  the  Pompeian  frescoes  are  either  still  in  place  or 
exhibited  in  the  Naples  Museum;  but  by  some  good  for- 
tune this  Museum  has  been  able  to  acquire  a  number  of 
splendid  examples,  exhibited  in  Room  VI 11.  From  them 
we  can  obtain  an  excellent  idea  of  the  richness  and  bril- 
liance of  ancient  house  decoration.  These  paintings  were 
discovered  in  1900  in  a  villa  near  Boscoreale,  a  village  on 
the  southern  slope  of  Mount  Vesuvius,  not  far  from  Pom- 
peii. A  plan  of  this  villa  can  be  seen  on  p.  179.  It  shows 
us  the  typical  arrangement  of  a  Roman  house  in  early 
Imperial  times.  As  we  enter,  we  first  pass  into  an  open 
courtyard  from  which  branch  off  the  several  living-rooms, 
a  cubiculum  or  bedroom,  the  tablinum  or  sitting-room,  and 
the  triclinium  or  dining-room.  Of  the  last  there  are  sev- 
eral, a  small  one,  a  large  banquet-room,  and  one  reserved 
for  the  summer-time.  The  villa  rustica,  or  farmhouse, 
which  occupies  the  whole  of  one  side,  is  an  interesting 
feature,  showing  that  the  owner  of  the  villa  took  an  active 
interest  in  farming. 

The  technique  of  ancient  fresco  painting^  seems  to  have 
differed  somewhat  from  that  in  use  today.  The  principle 
of  true  fresco  painting  is  the  application  of  colors  on  the 
wet  plaster,  when  the  colors  penetrate  into  the  plaster  and 
a  crystalline  layer  is  formed  on  the  surface.    As  not  all 

iQur  knowledge  of  ancient  fresco  painting  is  derived  from  extant  ex- 
amples and  also  from  a  valuable  treatise  on  the  subject  by  Vitruvius 
(Architecture  VII,  3).  For  modern  discussions  of  the  subject  see  A.  P. 
Laurie,  Greek  and  Roman  Methods  of  Painting  (1910);  E.  Berger, 
Beitrage  zur  Entwickelungsgeschichte  der  Maltechnik  (1904);  F.  Gerlich, 
Die  Technik  der  romisch-pompejanischen  Wandmalerei,  in  Neue  Jahr- 
biicher  fiir  das  klassische  Altertum  XXI,  1908,  pp.  127-147. 


ROMAN     IMPERIAL  PERIOD 


179 


colors  are  suited  to  this  process,  some  have  to  be  added 
after  the  plaster  has  dried,  egg  or  gum  being  then  used 
as  a  medium  to  bind  the  colors.  In  ancient  frescoes  the 
plaster  was  very  thick  and  consisted  of  a  number  of  layers, 
so  that  it  retained  the  water  for  a  considerable  time,  and 


FIG.    no.     PLAN  OF  BOSCOREALE  VILLA 

Villa  Rustica  (farmhouse) 
Room  of  Musical  Instru- 
ments 
Fauces 

Peristylium  (inner  court  open 

to  the  sky) 
Covered    Portion   of  the 

Peristylium 
Triclinium  (dining-room) 


7.  CuBicuLUM  (bedchamber) 

8.  Tablinum 

9.  Small  Room  adjoining  tri- 
cHnium 

10.  Grand  Triclinium  (banquet- 
room) 

11.  Small  Room  near  the  sum- 
mer triclinium 

12.  Summer  Triclinium  (dining- 
room) 


the  painter  could  work  leisurely  over  large  surfaces,  instead 
of  painting  in  small  sections,  as  became  customary  later. 
Moreover,  by  the  vigorous  beating  of  each  layer,  the  plas- 
ter became  very  dense.  Another  important  characteristic 
is  the  polish  given  to  the  brilliant  background  on  which 
the  designs  were  applied.  This  produced  a  beautiful,  lus- 
trous surface  not  unlike  polished  marble,  and  greatly  adds 
to  the  elegance  of  the  general  effect. 


l8o        EIGHTH     AND     NINTH  ROOMS 

It  is  difficult  to  gauge  nowadays  how  extensive  was  the 
debt  which  the  Roman  fresco  painters  owed  to  their  Hel- 
lenistic predecessors;  for  little  from  the  earlier  period  has 
been  preserved.  It  is  probable,  however,  that  the  Romans 
copied  extensively  what  they  found  ready  to  hand;  for 
during  the  whole  period  covered  by  Pompeian  painting 
(about  80  B.C.  to  79  A.D.)  we  have  hardly  any  develop- 
ment. Different  styles  can  be  traced,  but,  as  with  every 
eclectic  school,  there  is  no  continued  growth. 

The  subjects  represented  in  our  frescoes  are  life-size 
figures,  architectural  compositions,  and  decorative  designs. 
Among  the  figures,  the  most  interesting  is  that  of  a  lady 
playing  the  cithara,  with  a  little  girl — probably  her  hand- 
maid— standing  behind  her  chair  (fig.  iii;  North  Wall). 
The  expression  of  dreamy  contemplation  on  the  woman's 
face  is  well  rendered,  and  there  is  a  quiet  dignity  about  her 
which  makes  this  painting  particularly  attractive.  The 
treatment  of  details,  on  the  other  hand,  is  sketchy  and 
even  faulty.  The  other  life-size  figures  consist  of  a  woman 
standing  upright,  holding  a  shield  in  her  left  hand,  and  a 
group  of  a  woman  and  a  man  seated  side  by  side  (South 
Wall).  The  latter  is  not  well  preserved,  but  that  it  was 
a  specially  fine  painting  is  shown  by  the  splendid  charac- 
terization of  the  woman's  face.  Among  the  decorative 
compositions  the  most  interesting  are  a  painting  from  the 
tablinum,  showing  a  marble  wall  with  a  beautiful  garland 
of  fruit  and  leaves  (East  Wall);  and  a  fragment  from  the 
peristylium  with  a  festoon  of  ripe  grain  and  fruit  suspended 
from  a  Corinthian  column  (West  Wall).  Near  the  latter 
is  shown  a  fragment  of  another  fresco,  not  from  Boscoreale, 
with  a  representation  of  a  Satyr  and  the  infant  Dionysos; 
the  subject  is  remarkable,  being  apparently  a  free  copy 
after  the  famous  group  of  Hermes  and  Dionysos  by  Prax- 
iteles at  Olympia. 


ROMAN      IMPERIAL     PERIOD  l8l 

While  the  frescoes  so  far  described  are  mere  fragments 
and  have  had  to  be  framed  as  such,  the  paintings  from  the 
cubiculum  (which  appears  to  have  been  the  chief  bed- 
chamber, at  least  on  this  floor)  were  almost  completely 
preserved,  and  could  therefore  be  set  up  in  a  small  room 
of  the  size  of  the  original  bedchamber  (on  the  west  side  of 


FIG.    III.      FRESCO   FROM  BOSCOREALE 


the  gallery;  fig.  112).  In  the  farther  wall  of  this  room  the 
original  window  with  its  ancient  grating  has  been  repro- 
duced. The  frescoes  consist  chiefly  of  architectural  com- 
positions, such  as  many-storied  buildings  with  high  portals, 
projecting  balconies,  and  lofty  colonnades.  They  are  of 
fantastic  construction  but  give  a  pleasing  impression  of 
spaciousness,  and  make  the  room  appear  larger  than  it 
really  is.  On  the  right  side  of  the  window  is  one  of  the 
most  idyllic  pictures  that  has  come  down  to  us  from  an- 
tiquity.   Above,  in  the  distance,  we  see  a  garden  with 


l82         EIGHTH     AND     NINTH  ROOMS 

a  terrace  overgrown  with  vines.  In  the  foreground  is 
a  rocky  cave  around  which  grows  a  spreading  creeper. 
Nearby  is  a  fountain,  on  the  edge  of  which  is  perched  a 
bird;  others  are  flitting  about  or  momentarily  resting  on 
branches,  in  evident  enjoyment  of  the  peaceful  quiet  of 
their  retreat. 

Bronzes  Several  of  the  objects  placed  in  this  room  come  likewise 
from  Boscoreale,  though  not  from  the  same  villa  as  the 
frescoes.  Foremost  among  these  is  the  famous  statue  of 
Eros  lent  by  J.  Pierpont  Morgan,  undoubtedly  one  of  the 
finest  bronze  works  preserved  to  us.  It  is  of  the  Hellenis- 
tic period,  but  has  been  placed  in  this  chamber  as  in  an 
appropriate  setting.  Eros  is  represented  as  a  winged  boy 
springing  forward,  lightly  poised  on  the  toes  of  his  right 
foot,  and  holding  in  his  left  hand  the  socket  of  a  torch. 
The  artist  has  admirably  succeeded  in  conveying  the  light- 
ness and  grace  associated  in  our  minds  with  the  conception 
of  Eros.  Everything  in  the  figure  suggests  rapid  forward 
motion;  but  this  is  attained  without  sacrificing  the  perfect 
balance  of  all  parts,  so  that  the  impression  made  is  at  the 
same  time  one  of  buoyancy  and  of  restraint.  The  child- 
like character  is  well  brought  out  in  the  lithe,  rounded 
limbs,  and  in  the  smiling,  happy  face.  Unfortunately  the 
surface  is  much  corroded  in  places,  having  been  exposed 
to  water;  but  the  beauty  of  the  modeling  can  be  seen  in 
the  better-preserved  parts — the  front  and  left  sides  of  the 
head  and  portions  of  the  arms  and  of  the  right  leg;  and 
even  on  the  back,  where  the  corrosion  is  worst,  the  grace- 
ful outline  of  the  figure  can  still  be  appreciated.  The  fact 
that  Eros  is  represented  in  rapid  motion  carrying  a  torch 
suggests  the  possibility  that  he  is  conceived  as  running  in 
a  torch-race. 

The  table  of  variegated  marble  with  bronze  fittings  was 
likewise  found  at  Boscoreale,  as  was  the  lamp-stand  placed 


1 84        EIGHTH     AND     NINTH  ROOMS 

on  it.  The  bronze  rim  round  the  top  of  the  table  is  dec- 
orated with  beautiful  palmette  and  rosette  ornaments,  in- 
laid in  silver  and  niello.  Originally,  when  the  bronze 
retained  its  golden  color,  the  dull  black  and  bright  silver 
of  the  decorations  must  have  stood  out  very  effectively. 

The  tall  candelabrum  placed  at  the  back  of  the  chamber 
is  of  a  type  commonly  found  at  Pompeii  and  Herculaneum; 


FIG.    113.     BRONZE  GROUP 
THE  IMAGE  OF   KYBELE  ON   ITS   PROCESSIONAL  CAR 


its  provenance  is,  however,  unknown.  The  round  disk  at 
the  top  is  for  the  support  of  a  lamp. 

A  number  of  important  bronzes  of  the  Roman  period 
are  exhibited  in  Room  VIII.  The  statue  of  a  " Camillus," 
that  is,  a  boy  who  assisted  at  religious  ceremonies,  is  an 
attractive  piece  of  the  earlier  Imperial  epoch  (fig.  114; 
Pedestal  H  Pedestal  H).  He  is  represented  as  standing  in  an  easy 
pose,  his  right  hand  holding  a  staff,  while  the  left  probably 
grasped  an  incense-box.  He  wears  a  tunic  which  falls  in 
simple  and  effective  folds  and  is  inlaid  with  narrow  bands 
of  copper. 

Another  important  piece  is  the  representation  of  an 
image  of  the  great  nature  goddess  Kybele  on  her  proces- 


ROMAN 


M  P  E  R  I  A  L 


PERIOD 


185 


sional  car,  drawn  by  two  lions  (fig.  113;  Case  M).    The  Case  M 
worship  of  Kybele  in  Rome  dates  from  the  year  204  B.C., 
when,  in  obedience  to  a  SibyUine  edict,  her  image  was 
brought  from  her  Phrygian  home  and  placed  in  a  tem- 
ple on  the  Palatine. 

From  that  time  on,  '^/^\ 


memorated  these  two 

events.  One  of  the  ceremonies  observed  in  Rome  on  this 
occasion  was  the  carrying  of  the  statue  of  Kybele  on  her 
chariot  from  her  temple  on  the  Palatine  to  the  banks  of  the 
river  Alno,  where  both  were  bathed,  and  then  brought  back 
to  the  temple.  It  is  this  ceremony  that  the  group  in  this 
Museum  probably  commemorates;  for  the  proportion  of 
the  figure  of  Kybele  to  the  lions  clearly  indicates  that  not 
the  goddess  herself  but  her  image  is  here  represented. 


her  cult  became  very 
popular,  and  various 
ceremonies  were  ob- 
served in  connection 
with  it.  The  two 
chief  features  in  the 
legend  of  Kybele  were 
the  loss  of  her  lover 
Attis  and  his  subse- 
quent restoration, 
Kybele  symbolizing 
the  earth,  and  Attis 
vegetation.  Both  in 
Phrygia  and  later  in 
Rome  a  yearly  festi- 
val was  held  in  which 
wild  manifestations 
first  of  sorrow  and 
then  of  rejoicing  com- 


FIG.   114.     BRONZE  STATUE 
A  CAMILLUS 


1 86        EIGHTH     AND     NINTH  ROOMS 

Pedestal  K  The  Hfe-size  portrait  head  (fig.  1 1  5)  on  Pedestal  K,  rep- 
resents probably  M.  Agrippa,  the  illustrious  friend  and 
general  of  Augustus.  It  was  found  at  Susa  near  Turin, 
and  with  it  were  unearthed  fragments  of  a  statue  and  pieces 
of  marble  containing  a  dedicatory  inscription  to  Agrippa. 
The  presumption,  therefore,  is  that  our  head  was  broken 
from  a  large  bronze  statue  representing  Agrippa.  It  is 
a  splendid  example  of  Roman  portraiture.  The  ener- 
getic, forceful  character  of  the  man  is  well  brought  out 
and  the  modeling  is  careful  and  detailed,  though  rather 
hard. 

A  smaller  portrait  bust  of  a  bearded  man  of  about  middle 
Case  N  age  (Case  N)  cannot  be  identified  with  any  known  person- 
age. From  the  shape  of  the  bust,  however,  which  includes 
the  shoulder  and  part  of  the  upper  arm,  we  may  place  it 
in  the  Trajanic  or  early  Hadrianic  period,  that  is,  in  the 
beginning  of  the  second  century  A.D.  The  rarity  of  such 
bronze  busts  and  the  exceptionally  good  execution  and 
preservation  of  this  example  combine  to  make  it  a  piece  of 
great  interest. 

The  large  statuette  of  a  female  panther  (fig.  1 16;  Case 
Case  E       E)  is  a  remarkable  example  of  ancient  animal  sculpture. 

The  wonderful  way  in  which  the  cat-like  nature  of  the 
beast  is  displayed  in  the  grinning  face,  the  uplifted  paws, 
and  the  long,  lithe  body  with  its  many  curves  and  hollows, 
shows  that  this  figure  was  studied  from  life  without  any 
of  the  conventionalism  of  Greek  art  in  the  treatment  of 
animals.  The  conception  is  characteristic  of  the  Hellen- 
istic period;  but  the  actual  workmanship  is  probably 
Roman,  of  early  Imperial  date,  since  the  figure  is  said  to 
have  been  found  in  Rome,  in  a  deposit  of  Roman  bronzes 
discovered  there  in  1880.  The  whole  body  of  the  panther, 
as  well  as  the  head,  the  paws,  and  the  tail,  is  covered  with 
spots  which  were  inlaid  with  silver.    Moreover,  the  base 


ROMAN     IMPERIAL     PERIOD  1 87 

on  which  the  panther  rests  is  decorated  with  beautiful 
inlay  work  in  silver  and  niello. 

A  miniature  farmyard  (Case  L)  is  an  entertaining  group  Case  L 
found  in  a  tomb  at  Civita  Castellana.    It  consists  of  a 


fig.  115.    bronze  portrait 
agrippa(?) 


pair  of  bulls,  a  pair  of  cows,  a  pair  of  goats,  a  ram,  a  ewe, 
a  pig,  and  a  sow,  together  with  a  plough,  a  cart,  and  two 
yokes.  All  the  animals,  though  rather  roughly  modeled, 
are  carefully  characterized.  The  group  was  probably  either 
a  votive  offering  or  a  child's  toy. 

In  Case  J  have  been  assembled  a  selection  of  our  finer  Case  J 
bronze  statuettes  of  the  Roman  period;  the  less  careful 


1 88        EIGHTH     AND     NINTH  ROOMS 

examples  will  be  found  in  Case  G,  Room  IX.  On  the  top 
shelf  two  statuettes  of  Poseidon  should  be  specially  noted. 
One  reproduces  the  type  of  the  striding  Poseidon  which 
occurs  on  the  coins  of  Poseidonia  from  550-400  B.C.  The 
attitude  of  the  other  is  like  that  of  the  fourth-century 
example  in  Case  D,  Room  VI  (see  p.  135),  but  reversed. 
Hermes  is  characterized  in  two  statuettes  as  the  god  of 
commerce  by  the  money  pouch;  this  conception  appears 
to  have  been  of  Roman,  not  Greek,  origin. 

On  the  middle  shelf,  in  the  center,  is  a  fme  statuette  of 
a  seated  Zeus  holding  a  sceptre  and  a  thunderbolt.  It  is 
one  of  the  best  extant  figures  of  this  type,  and  though  of 
Roman  execution,  must  have  been  made  by  a  Greek  artist 
thoroughly  imbued  with  the  Greek  spirit.  The  statuette 
of  a  little  girl  holding  a  puppy  is  a  charming  study  of  child 
life.  Two  grotesque  figures  illustrate  a  popular  tendency 
of  this  period  to  represent  caricatures.  Such  grotesques 
may  be  identified  with  actors  in  the  ancient  farcical  plays 
called  mimes.  On  the  bottom  of  the  case  is  an  attractive 
figure  of  a  winged  Eros,  of  the  same  general  type  as  the 
statue  from  Boscoreale  (p.  182).  A  large  statuette  of  a 
Roman  priest  with  a  laurel  wreath  in  his  hair  and  holding 
a  small  box  is  also  noteworthy.  A  bronze  chair  leg  is 
elaborately  moulded  in  imitation  of  wooden  models,  and 
is  decorated  with  reliefs  partly  overlaid  with  silver.  It 
resembles  other  Roman  chair  legs  found  at  Pompeii  and 
elsewhere,  and  may  also  be  compared  with  the  painted 
chairs  of  the  frescoes  in  this  room. 
Marbles  A  marble  head  of  Athena  (fig.  117;  Pedestal  F)  is  an 
Pedestal  F  attractive  specimen  of  the  "archaistic"  style,  in  which  the 
Roman  sculptor  imitated  Greek  archaic  work.  It  is  beau- 
tifully modeled,  and  treated  in  the  delicate,  refined  manner 
characteristic  of  the  best  early  work.  Moreover,  in  the 
rendering  of  the  features  the  artist  has  caught  much  of  the 


ROMAN     IMPERIAL     PERIOD  1 89 

archaic  spirit;  only  the  mobile  mouth  betrays  the  later 
artist.  Like  the  relief  of  Herakles  (No.  33  in  the  Central 
Hall)  this  head  is  probably  a  product  of  the  first  century  of 
the  Empire,  when  the  archaistic  style  was  much  in  vogue. ^ 

We  have  seen  how  in  the  Hellenistic  period  painted  pot-  Pottery 
tery  was  gradually  supplanted  by  pottery  with  relief  orna- 
mentation.   By  the  first  century  B.C.  this  change  in 


FIG.    116.      BRONZE  STATUETTE 
A  PANTHER 


decoration  had  become  practically  universal.  Metal  vases 
served  as  natural  prototypes  both  in  the  shapes  and  in  the 
decoration.  Among  the  large  mass  of  Roman  ware  two 
fabrics  stand  out  as  preeminent — the  Arretine  pottery  and 
the  pottery  covered  with  metallic  glaze.  These  special 
fabrics  are  shown  in  this  room,  in  Cases  G  and  C,  while 
the  commoner  wares  are  exhibited  in  the  Ninth  Room. 

The  center  of  the  Arretine  pottery  was  the  town  of 
Arezzo,  the  ancient  Arretium,  in  Northern  Italy.  The 
flourishing  period  of  the  industry  appears  to  have  been  in 

^For  a  description  of  the  tomb  relief  on  the  south  wall  see  p.  246. 


I  go        EIGHTH     AND     NINTH  ROOMS 

the  century  between  about  40  B.C.  to  60  A.D.  That  the 
vases  were  famous  also  during  the  time  they  were  produced 
is  shown  by  their  wide  distribution,  by  the  references  to 
them  in  ancient  Hterature,  and  by  the  fact  that  they  were 
soon  imitated  not  only  in  Italy  itself  but  all  over  the  Roman 
world.  The  distinctive  features  of  the  Arretine  vases  are 
that  they  were  made  from  moulds  and  covered  with  a  bril- 
liant reddish  brown  glaze.  The  decorations  consist  of  fig- 
ures and  decorative  motives  in  relief,  executed  with  the 
greatest  refinement  and  delicacy.  Not  only  are  the  designs 
beautiful  in  themselves,  but  the  spacing  shows  a  highly 
developed  decorative  sense.  The  artist  probably  followed 
closely,  but  not  slavishly,  Hellenistic  models.  Our  collec- 
Case  G  ^^on  includes  both  moulds  and  vases  (Case  G);  and  we  can 
thus  clearly  see  the  two  important  steps  in  the  production. 
The  moulds  have  the  designs  in  the  interior,  impressed  in 
the  clay  by  means  of  stamps,  so  that  they  appear  as  in- 
tagli;  while  the  vases  themselves  show  them  on  the  outside, 
in  relief.  Only  the  vases,  of  course,  are  covered  with  glaze. 
The  stamps  which  made  up  the  designs  were  used  in  dif- 
ferent combinations,  considerable  variety  being  thus  pro- 
duced with  comparatively  few  stamps. 

The  subjects  on  our  examples  include,  on  the  moulds,  a 
sacrificial  scene  with  winged  genii  decorating  an  altar  and 
women  bringing  offerings  (fig.  118),  a  symposium  with 
youths  and  girls  reclining  on  couches  (fig.  1 18),  and  masks 
of  bearded  Satyrs  with  festoons  of  grape-vine  (see  tail- 
piece, p.  200);  on  the  vases.  Satyrs  and  dancing  girls,  a 
hunting  scene,  divinities,  and  conventionalized  floral  de- 
signs. Most  of  the  types  are  familiar  from  representations 
on  other  Arretine  pottery,  the  slight  differences  introduced 
being  due  to  that  love  of  variety  within  apparent  uni- 
formity which  animated  the  makers  of  these  vases,  as  it 
did  those  of  the  Tanagra  statuettes  (see  p.  144).    An  in- 


ROMAN 


IMPERIAL 


PERIOD 


191 


teresting  feature  of  Arretine  ware  is  the  inscriptions  of  the 
potters  which  occur  on  them.    They  are  generally  signed 
both  by  the  proprietor  of  the  pottery  and  by  the  workman 
of  the  individual  piece.    The  best-known  master  is  M. 
Perennius,  who  must  have  been  the  head  of  an  impor- 
tant establishment;  for  his  name  occurs  on  many  of  the 
best  extant   moulds  and 
vases.   Two  of  our  moulds 
and  the  two-handled  cup 
with   the   hunting  scene 

bear  his  signature.    The  ^       '  » 


Case  C  contains  vases  covered  with  metallic  glaze — an  due  C 
important,  rare  fabric  which  has  only  recently  received 
careful  attention.  The  composition  of  the  glaze  is  unlike 
that  of  the  black  glaze  of  Athenian  pottery,  resembling 
more  nearly  that  of  our  modern  lead  glazes.  The  vases 
are  generally  ornamented  on  the  exterior  with  decorations 
in  low  relief,  consisting  chiefly  of  naturalistic  wreaths,  more 
rarely  of  figured  scenes.  As  in  the  Arretine  vases,  the 
origin  from  metal  technique  is  apparent  in  the  decorations 
as  well  as  in  the  forms  of  the  vases.    The  favorite  shape 


large  bowl  also  probably 
was  his  work;  for  it  is  in- 
scribed Tigranes,  either 
part  of  Perennius'  name,  or 
the  name  of  a  workman  in 
Perennius'  establishment. 
The  one-handled  cup  is 
signed  by  Cornelius,  anoth- 
er famous  master.  Phile- 
mon, Nicephor,  and  Rodo 
are  the  names  of  the  work- 
men recorded  on  our  ex- 
amples. 


FIG.  117 

MARBLE  HEAD  OF  ATHENA 


ROMAN,  ARCHAISTIC 


192         EIGHTH     AND     NINTH  ROOMS 

appears  to  have  been  a  deep  cup  with  ring  handles.  Sev- 
eral such  examples,  as  well  as  other  forms,  are  placed  on 
the  top  shelf.  In  some,  the  glaze  is  still  in  an  excellent 
state  of  preservation,  so  that  we  can  form  a  good  idea  of 
the  original  appearance  of  these  vases.  On  the  middle 
shelf  are  three  larger  pieces,  two  of  which  are  important 
examples  lent  by  J.  Pierpont  Morgan.  An  amphora,  cov- 
ered with  a  green  glaze  with  a  beautiful  silvery  iridescence, 
has  a  vine  leaf  below  each  handle  and  a  frieze  running 
round  the  lower  part  of  the  vase.  This  is  made  up  of  four 
different  figures,  twice  repeated:  two  Maenads  and  two 
draped  female  figures.  The  derivation  of  the  vase  from 
a  metal  prototype  is  again  apparent,  even  the  rivets  by 
which  the  handles  were  attached  being  copied  in  clay. 
The  jug  with  trefoil  mouth,  on  the  same  shelf,  is  decorated 
with  a  representation  of  three  grotesque  figures  similar  in 
type  to  the  bronze  examples  described  above  (p.  i88). 
The  technique  differs  from  that  of  the  other  vases  in  that 
the  reliefs  are  not  cast  from  a  mould  with  the  body  of  the 
vase,  but  are  applied  separately.  This  vase  is  said  to  have 
been  found  in  a  tomb  at  Olbia  in  Southern  Russia.  On  the 
bottom  of  the  case  are  miscellaneous  examples  of  this  ware, 
consisting  of  several  vases,  two  lamps,  and  one  statuette. 
The  execution  of  most  of  these  is  distinctly  inferior  to  the 
examples  heretofore  described.  The  provenances  are  stated 
to  be  Greece,  Italy,  and  Gaul. 

What  the  home  of  this  fabric  of  glazed  vases  was  is  not 
certain.  The  finds  seem  to  indicate  that  most  of  the  better 
specimens  came  from  the  eastern  part  of  the  classical  world, 
chiefly  from  Asia  Minor  and  Southern  Russia.  The  earliest 
specimens  date  from  the  third  and  second  centuries  B.C. 
In  the  first  century  B.C.  and  the  first  century  A.D.  the 
fabric  seems  to  have  gained  in  popularity,  and  to  this 
period  most  specimens  here  shown  must  be  assigned.  As 


ROMAN     IMPERIAL     PERIOD  I93 

the  technique  became  better  known,  it  was  imitated  in  the 
western  part  of  the  Roman  Empire;  but  these  later  speci- 
mens are  as  inferior  to  the  earher  ones  as  is  the  provincial 
terra  sigillata  ware  (see  p.  198)  to  the  beautiful  Arretine 
vases. 

Engraved  gems  enjoyed  a  great  popularity  in  the  early  Gems 
Imperial  period,  as  is  shown  not  only  by  the  large  number 
of  examples  which  have 
survived,  but  also  from 
literary  sources.  It  is 
indeed  natural  that  the 
fashion  of  wearing  private 
seals  in  a  great  variety  of 
beautiful  stones  —  which 
could  be  obtained  with- 
out difficulty  from  all 
parts  of  the  Empire — 
should  appeal  to  the  cul- 
tured classes  of  Romans. 
The  subjects  represented 
on  these  gems  cover  a 

wide  range.  Our  collec-  casts  from  arretine  moulds 
tion,  which  is  fairly  rep- 
resentative, will  give  a  good  idea  of  the  chief  types  and 
styles  (Cases  A  and  D).  Mythological  subjects,  scenes 
from  daily  life,  portraits,  animals,  and  various  objects  and 
symbols,  are  all  of  frequent  occurrence.  The  style  is  either 
strictly  classical,  following  the  traditions  of  Greek  art  of  the 
fifth  and  fourth  centuries  B.C.,  or  it  shows  the  influence  of 
Hellenistic  art  in  its  quieter,  more  charming  aspect.  Many 
of  the  representations  of  Eros,  for  instance,  clearly  reflect 
Hellenistic  conceptions,  and  some  may  indeed  be  later 
works  of  that  period.  All  the  chief  tendencies  of  Roman 
art  are,  in  fact,  represented  on  the  gems,  and  they  thus  give 


1 94        EIGHTH     AND     NINTH  ROOMS 

an  excellent  idea  of  Roman  art  in  general.  The  gems  in 
our  collection  are  arranged  according  to  subjects.  The 
name  of  the  stone  and  the  subject  represented  are  indicated 
on  each  label,  so  that  a  detailed  description  is  here  unnec- 
essary. Special  mention  should  be  made  of  some  of  the 
portraits,  in  which  field  the  gem-cutting  of  this  period 
reached  its  height.  The  finished  elegance  of  Augustan  art 
has  indeed  nowhere  found  better  expression.  Some  of  the 
gems  bear  signatures  of  artists. 

By  the  second  century  A.D.  glyptic  art  had  entered  on  a 
decline.  Of  the  large  number  of  gems  which  have  survived 
only  very  few  have  any  artistic  value.  The  great  majority 
show  careless  workmanship  and  monotonous  representa- 
tions. This  decadence  is  probably  to  be  explained  by  the 
fact  that  the  gems  had  ceased  to  be  objects  of  fashionable 
interest,  and  therefore  no  longer  attracted  the  best  work- 
men. They  were  now  merely  seals  and  especially  amulets; 
for  the  belief  in  the  magic  properties  of  certain  symbols 
had  by  now  become  quite  general.  Our  examples  are 
Case  B  placed  in  Case  B.  The  scenes  represented  are  those  com- 
mon in  this  period — figures  of  deities,  especially  Fortuna, 
Nemesis,  and  Victoria,  and  all  sorts  of  symbols;  also  a  few 
portraits. 

A  number  of  gems  of  post-classical  times  are  placed  in 
Case  D  the  lower  part  of  Case  D,  for  comparison.  After  the 
Roman  period  there  were  two  epochs  in  which  the  art  of 
gem  engraving  again  flourished,  that  of  the  Renaissance 
and  that  of  the  eighteenth  and  early  nineteenth  centuries. 
The  artists  of  both  periods  borrowed  freely  from  the 
antique.  Those  of  the  Renaissance  were  too  full  of  their 
own  individuality  to  keep  very  closely  to  the  ancient  spirit, 
and  Renaissance  works  of  classic  subjects  are  therefore 
seldom  difficult  to  distinguish  from  ancient  gems.  The 
gem  engravers  of  the  eighteenth  century,  on  the  other 


ROMAN     IMPERIAL  PERIOD 


195 


hand,  had  Httle  inspiration  of  their  own,  and  consciously 
tried  to  copy  ancient  work  as  exactly  as  possible.  Though 
at  first  this  copying  was  done  purely  out  of  admiration  for 
the  antique,  it  soon  developed  with  unscrupulous  people 
into  an  extensive  output  of  forgeries.    At  times,  especially 
when  the  designs  instead  of  being  imitations  are  actual 
copies  of  ancient  gems,  it  is  extremely 
difficult  to  tell  definitely  whether  a  cer- 
tain piece  is  ancient  or  a  faithful  copy. 
Mostly,  however,  the  copyist  betrayed 
himself  by  a  slight  innovation  character- 
istic of  the  spirit  of  his  own  times  rather 
than  of  the  antique.    And  in  a  large 
number  of  cases,  notably  in  the  famous 
Poniatowski  gems,  the  spirit  and  com- 
position are  so  far  removed  from  ancient 
work  that  few  people  would  nowadays 
be  deceived  by  them. 

Another  technique  practised  by  the 
Romans  was  the  carving  of  precious 
stones  in  the  round.    A  beautiful  ex- 
ample, shown  in  Gallery  1 1 :  C  32,  is  a 
chalcedony  statuette  of  Nike  (fig.  119). 
The  head,  arms,  and  wings  were  made 
in  separate  pieces  and  are  missing.    The  artist  has  man- 
aged his  material  so  skilfully  that  when  held  against  the 
light  the  figure  itself  is  silhouetted  while  the  flying  drapery 
is  translucent. 

In  the  same  room  are  shown  a  number  of  examples  of  jewelry 
Roman  jewelry  and  goldsmith's  work.  The  most  impor- 
tant piece  is  a  large  silver  handle  of  a  bowl,  elaborately 
decorated  with  a  hunting  scene  in  relief  (fig.  120).  It  can 
give  us  a  good  idea  of  the  luxurious  tableware  in  use  in  the 
early  Imperial  epoch. 


FIG.  1  19.  CHALCE- 
DONY STATUETTE 
NIKE 


Gallery 
II:  C'32 


ig6        EIGHTH     AND     NINTH  ROOMS 

At  the  west  end  of  the  corridor  between  the  Eighth  and 
Ninth  Rooms  is  exhibited  a  piece  of  unusual  interest,  lent 
by  J.  Pierpont  Morgan.  It  has  been  restored  as  a  seat 
with  curved  rests  decorated  with  bone  carvings  and  glass 
inlay;  but  it  must  originally  have  been  considerably  longer 
and  have  served  as  a  couch,  in  which  case  the  two  curved 
rests  would  have  had  more  use  and  the  whole  be  better 
proportioned.  This  form  of  couch  is  that  adopted  by  the 
Romans  from  the  Greeks,  and  popular  with  them  down  to 
the  end  of  the  first  century  A.D.  A  number  of  examples 
with  bronze  fittings  are  known,  but  specimens  with  bone 
decorations  are  rarer,  the  best  known  having  been  found 
at  Norcia,  Ancona,  and  Orvieto,  of  which  the  last  is  now 
in  the  Field  Museum  at  Chicago.  The  bone  carvings,  both 
on  the  seat  and  on  the  stool  (which  is  exhibited  in  the  same 
case),  are  of  rough  workmanship,  but  combine  well  with  the 
gaily  colored  mosaic  inlay  to  give  the  richness  of  effect  so 
appreciated  by  the  Roman  temperament. 

NINTH  ROOM 

The  larger  part  of  Room  IX  is  taken  up  by  our  collection 
of  Roman  glass.  This  collection  ranks  now  as  one  of  the 
richest  and  most  important  in  the  world.  It  is  described 
in  a  special  pamphlet,  entitled  The  Room  of  Ancient  Glass, 
so  that  only  a  few  explanatory  words  are  here  necessary. 

We  have  seen  that  previous  to  the  Roman  epoch  glass 
was  not  blown  but  modeled  by  hand  over  a  core  (see  pp. 
84-85).  This  method  must  have  been  slow  and  laborious; 
and  the  use  of  glass  vessels  during  these  periods  was  con- 
sequently limited,  clay  vases  of  every  description  supply- 
ing the  needs  of  every  day.  Apparently  in  the  second  or 
first  century  B.C.,  the  blowing-tube  was  invented,  which 
worked  a  revolution  in  the  manufacture  of  glass.  It  could 
now  be  produced  easily  and  rapidly,  and  soon  began  to 


ROMAN     IMPERIAL     PERIOD  1 97 

usurp  the  place  of  clay  and  be  employed  more  and  more 
commonly  for  the  various  uses  to  which  it  is  put  at  the 
present  day. 

Besides  the  plain  blown  glass,  shown  in  Cases  M-R,  our 
collection  includes  glass  decorated  in  various  ways.  The 
chief  varieties  are  mosaic  glass,  commonly  called  millefiori 
glass  (Case  J),  cameo  glass  (Case  E),  glass  blown  in  moulds 
(Case  H),  vases  with  threads  of  glass  applied  plastically 


^^^^ 

FIG.   120.      SILVER  HANDLE  OF  A  BOWL 


(Case  K),  cut  glass  (Case  L),  and  painted  glass  (Case  E). 
In  Case  C  is  an  interesting  collection  of  Roman  glass  beads. 
A  number  of  Roman  cameos,  of  sardonyx  and  glass  paste, 
are  shown  in  Case  E  with  the  cameo  glass.  Several  fine 
pieces  of  glass  mosaic  have  been  placed  on  top  of  the  wall 
cases. 

The  bulk  of  Roman  glass,  especially  the  plain  blown 
variety,  shows  a  certain  amount  of  iridescence.  Occasion- 
ally this  produces  a  wonderful  combination  of  colors,  and 
forms  in  fact  one  of  the  chief  attractions  of  ancient  glass. 
This  iridescence  was  unintentional  on  the  part  of  the 
makers,  and  is  produced  by  the  partial  disintegration  of 
the  glass,  caused  by  its  exposure  to  damp  and  oxidation  in 
the  graves.  Especially  beautiful  examples  of  such  irides- 
cent glass  will  be  found  in  Case  Q. 


98 


EIGHTH     AND     NINTH  ROOMS 


Bronzes 
Cases 
A  and  D 


Besides  glass,  Room  IX  contains  Roman  bronzes,  pot- 
Marbles  tery,  mural  reliefs,  and  a  few  marbles.  Among  the  mar- 
bles a  tragic  mask  of  colossal  size  is  especially  noteworthy 
(on  top  of  Case  Q).  Masks  of  this  type  served  as  architec- 
tural decorations  in  Roman  houses.  They  were  often  sus- 
pended from  the  architrave  between  two  columns  of  a 
colonnade,  and  our  example  may  have  been  so  used.  In 
Case  D  and  at  the  bottom  of  Case  A  are  shown  miscel- 
laneous bronze  implements  and  utensils,  such  as  vases, 
handles,  lamps,  strigils,  horse-trappings,  musical  instru- 
ments, spouts,  shovels,  and  a  gold-beater's  block — showing 
the  great  variety  of  articles  made  by  the  ancients  in  this 
metal.  The  bronze  statuettes  are  chiefly  the  commoner 
examples  found  in  Italy  in  large  numbers,  and  arranged 
Case  G  here  according  to  types  (Case  G).  Though  they  have  little 
artistic  value,  they  are  interesting  from  an  archaeological 
point  of  view,  as  they  probably  represent  the  common 
votive  offerings  of  the  poorer  classes.  Their  rough  exe- 
cution often  makes  it  impossible  to  assign  a  definite  date 
to  them.  The  same  type  sometimes  appears  to  have  been 
in  use  for  some  time,  beginning  perhaps  in  the  archaic 
period,  and  continuing  down  to  Roman  Imperial  times. 
Pottery  When  the  fine  Italian  Arretine  ware  ceased  to  be  manu- 
factured, in  the  second  half  of  the  first  century  B.C.,  its 
place  was  taken  by  the  provincial  terra  sigillata  ware, 
manufactured  chiefly  in  Gaul  and  Italy.  In  technique  this 
is  similar  to  the  Arretine  fabric,  that  is,  it  is  often  decorated 
with  reliefs  and  is  covered  with  a  brilliant  reddish  brown 
glaze.  Artistically,  however,  it  is  greatly  inferior,  the  re- 
liefs being  rough  and  mechanical  in  execution,  and  showing 
none  of  the  fineness  and  delicacy  of  Arretine  work.  They 
bear,  in  fact,  the  same  relation  to  Arretine  pottery  as  do 
the  South  Italian  vases  of  the  fourth  and  third  centuries 
to  their  beautiful  Athenian  models.    Our  examples  of  this 


ROMAN     IMPERIAL     PERIOD  1 99 

provincial  ware  are  exhibited  in  Cases  A  and  B.  They  show  Cases 
the  chief  shapes  in  use — bowls,  plates,  cups,  jugs,  and  am-  ^ 
phorai — and  the  general  character  of  the  decoration.  The 
undecorated  pieces  are  often  provided  with  potters'  stamps. 

Besides  the  regular  terra  sigillata  ware  there  were  a  num- 
ber of  variations  as  well  as  special  fabrics.  The  most 
important  of  these  represented  in  our  collection  are  vases 
ornamented  with  medallions,  vases  with  "barbotine"  or 
slip  decoration,  vases  with  stamped  and  incised  decoration, 
marbled  vases,  and  an  interesting  class  with  painted  in- 
scriptions of  a  convivial  character.  The  old  custom  of 
modeling  vases  in  human  form  was  also  retained,  as  seen 
in  several  examples.  All  these  wares  date  from  the  first 
to  the  fourth  century  A.D.  They  show  considerable  va- 
riety and  are  often  pleasing  in  effect,  but  are  rarely  of 
artistic  value. 

Besides  painting  their  walls  with  gaily  colored  frescoes,  stucco 
the  Romans  used  other  methods  for  decorating  their  houses.  ^^^^^^^ 
One  of  these  was  the  employment  of  stucco  ornamentation, 
principally  for  ceilings.  Beautiful  examples  of  such  plas- 
ter reliefs  have  been  found  among  the  remains  of  houses  in 
Rome  itself  and  also  in  the  well-known  tomb  chambers  in 
the  neighborhood  of  Rome.  They  were  employed  there  for 
ceiling  decoration,  often  conjointly  with  paintings.  Several 
specimens  in  our  collection,  of  unknown  provenance,  will 
give  a  good  idea  of  this  technique  (placed  on  top  of  Case 
N  and  in  the  south  doorway).  They  are  evidently  frag- 
ments of  a  large  composition  and  consist  of  single  figures, 
chiefly  flying  Erotes  and  women.  Such  panels  would 
be  combined  with  elaborate  arabesques  in  harmonious 
compositions.  It  is  interesting  to  compare  such  decora- 
tions, as  preserved,  for  instance,  in  the  tomb-chambers 
of  Via  Latina,^  with  similar  work  executed  later  in  the 

^For  illustrations  of  these,  see  G.  Ferrari,  Lo  Stucco  nell'  arte  italiana. 


200        EIGHTH     AND     NINTH  ROOMS 

time  of  the  Renaissance,  and  to  see  how  much  the  later 
artists  were  indebted  to  Roman  models. 

The  employment  of  mural  reliefs  in  terracotta  was 
another  form  of  Roman  house  decoration,  used  on  both 
the  outside  and  the  inside  of  buildings.  Three  good  exam- 
ples of  such  plaques  are  in  our  collection  (placed  against 
the  east  wall).  On  two  are  representations  of  a  Satyr  and 
a  Maenad  in  a  Bacchic  frenzy;  on  the  third  is  a  youth  giv- 
ing drink  to  a  griffm.  The  compositions  show  great  free- 
dom, the  abandon  of  the  Bacchic  frenzy  being  particularly 
spirited.  The  style  and  execution  are  similar  to  those  of 
the  Neo-Attic  reliefs  of  the  first  century  B.C.  to  the  first 
century  A.D.  The  paint  which  covered  the  terracotta  has 
now  mostly  disappeared,  but  it  must  originally  have  added 
much  to  the  decorative  effect. 


CENTRAL  HALL 


GREEK  AND  ROMAN  SCULPTURES 

SIXTH  CENTURY  B.C.  TO  THIRD  CENTURY  A.D. 

In  the  absence  of  Greek  paintings,  which  have  practi- 
cally all  perished,  and  of  architecture,  which  can  naturally 
not  be  transported,  sculpture  is  the  only  form  of  high  art 
practised  by  the  Greeks  which  can  be  shown  in  a  museum. 
A  collection  of  Greek  sculpture,  therefore,  assumes  great 
importance:  it  represents  for  us  the  highest  expression  of 
the  Greek  genius.  The  gifts  of  the  Greek  artist  could 
indeed  find  no  more  natural  outlet  than  in  the  field  of 
sculpture;  for  here  he  had  full  scope  for  his  wonderful  sense 
of  form,  structure,  and  line,  and  he  could  express  his  ideal 
of  spiritual  and  bodily  beauty. 

The  Greek  sculptor  tried  his  versatile  powers  on  all 
materials  ready  to  his  hand;  besides  marble  he  used 
wood,  limestone,  bronze,  terracotta,  gold,  silver,  ivory, 
bone.  But  a  history  of  Greek  monumental  sculpture  now 
deals  largely  with  marble  works;  for  marble,  being  less 
perishable,  less  easily  portable,  and  having  less  intrinsic 
value  than  some  of  the  other  materials,  has  stood  the 
test  of  time  better  than  they,  though  the  mutilated  con- 
dition of  most  Greek  marble  statues  is  eloquent  testi- 

201 


202 


CENTRAL  HALL 


mony  of  the  vicissitudes  through  which  they,  too,  have 
passed. 

The  marbles  at  the  disposal  of  the  Greek  sculptor — first 
those  from  the  islands  of  Paros  and  Naxos,  and  later  also 
that  from  Mount  Pentelikon  in  Athens — were  fortunately 
of  great  beauty;  so  that  he  was  helped,  not  hindered,  in 
his  material.  He  soon  acquired  an  extraordinary  pro- 
ficiency in  working  it.  In  fact,  his  ability  to  make  this 
hard  stone  represent  human  flesh  and  soft  drapery  has 
never  been  surpassed. 

In  our  appreciation  of  Greek  marble  sculptures,  we  must 
also  remember  that  they  were  always  painted,  at  least  to 
some  extent.  Only  a  few  traces  of  such  paint  have  now 
survived  (see  e.g.  on  our  examples,  Nos.  i,  30,  46,  52); 
but  they  are  enough  to  prove  the  ancient  practice.  This 
color  probably  added  greatly  to  the  general  effect;  for  pure 
white  marble  in  the  bright  sunlight  of  Greece  would  have 
been  dazzling  to  the  eye,  and  much  fine  detailed  work 
would  have  been  lost  to  the  spectator. 

Our  collection  of  Greek  and  Roman  sculptures  is  ex- 
hibited in  the  large  Central  Hall;  only  a  few  pieces  are 
placed  in  the  side  galleries  and  in  the  Vestibule,  D  11. 
The  arrangement  is  roughly  chronological  from  north  to 
south,  though  several  exceptions  have  had  to  be  made  to 
show  each  piece  to  best  advantage.  The  pieces  are  de- 
scribed in  the  order  of  their  periods,  so  as  to  enable  the 
visitor  to  study  the  development  of  Greek  sculpture.  With 
each  section  should  be  compared  the  other  objects  of  the 
same  period  placed  in  the  side  galleries.  The  introductory 
remarks  at  the  head  of  each  chapter  describing  these  gal- 
leries apply  equally  to  the  contemporary  sculptures. 

The  numbering  of  the  sculptures  begins  on  the  left  as 
one  enters  the  north  end  of  the  hall.  The  numbers  run 
along  the  left-hand  wall  as  far  as  the  middle  doorway. 


GREEK    AND    ROMAN  S 


CULPTURES  203 


returning  on  the  opposite  side, 
then  passing  to  the  sculptures 
on  the  middle  of  the  floor;  and 
similarly  with  the  south  half  of 
the  hall.  This  division  of  the 
hall  into  two  parts  corresponds 
with  the  chronological  arrange- 
ment, the  half  nearer  to  the 
Fifth  Avenue  Hall  containing 
Greek  sculptures,  and  the  far- 
ther half  mainly  Roman  works. 

ARCHAIC  PERIOD 

VI  CENTURY  B.C. 

The  earliest  marble  sculp- 
tures in  our  collection  belong 
to  the  archaic  period  of  the 
sixth  century  B.C.  Foremost 
among  them  is  an  Attic  grave 
stele  or  tombstone,  consisting 
of  a  tall,  slender  slab  mounted 
on  a  base  and  crowned  by  a 
fmial  (No.  30,  in  the  center  of 
the  hall;  fig.  121).  It  is  the 
largest  and  probably  the  most 
important  grave  monument  of 
this  epoch  in  existence.  As  was 
customary  on  the  grave  monu- 
ments of  this  period,  the  front 
of  the  slab  bears  a  full-length 
representation  in  relief  of  the 
deceased.  Instead  of  the  usu- 
al single  figure,  however,  there 


FIG.  121 

ATHENIAN  GRAVESTONE 
VI  CENTURY  B.C. 


204  CENTRAL  HALL 

are  two,  a  youth  and  a  young  girl,  probably  brother  and 
sister.  They  stand  side  by  side  in  rigid  attitudes.  The 
youth  is  nude  and  holds  a  pomegranate  in  his  left  hand, 
while  an  aryballos,  or  athlete's  oil-flask,  is  hanging  from 
his  wrist.  The  girl  is  fully  draped  and  holds  a  flower  in 
her  left  hand.  A  good  deal  of  both  figures  is  missing  and 
has  been  restored  in  an  outline  sketch  from  the  analogy  of 
similar  figures.  The  fragment  containing  the  head  and 
hand  of  the  girl  is  a  reproduction  in  plaster  of  the  original 
piece,  which  is  in  the  Berlin  Museum.  The  preservation 
of  the  surface,  moreover,  is  uneven.  The  lower  part  of 
both  figures  is  much  weathered;  while  the  heads  of  the 
youth  and  of  the  girl  (in  Berlin)  are  as  fresh  as  when  they 
left  the  sculptor's  hands. 

An  interesting  feature  of  this  stele  is  the  extensive  re- 
mains of  paint  which  are  preserved  on  it,  both  on  the  slab 
itself  (on  the  eye  and  hair  of  the  youth  and  on  the  back- 
ground) and  more  especially  on  the  finial.  The  latter  was 
decorated  with  a  beautiful  painted  design  of  a  palmette 
and  scrolls,  which  is  still  faintly  visible  (see  tail-piece,  p. 
259).  The  finial  was  originally  crowned  by  a  statue  of  a 
lion  or  griffin,  of  which  only  the  paws  have  been  preserved. 
Another  feature  which  adds  to  the  importance  of  this  stele 
is  the  dedicatory  inscription  on  the  base,  part  of  which  is 
still  extant.  From  it  we  learn  that  a  father  dedicated  this 
monument  to  his  son. 

For  the  study  of  Greek  sculpture  the  most  important 
part  of  this  imposing  monument  is  the  head  of  the  youth 
(fig.  122),  which  is  an  admirable  example  of  archaic  work. 
An  analysis  of  it  will  help  us  to  understand  the  aims  and 
problems  of  the  sculptor  of  that  period.  The  two  chief 
vehicles  for  expression  in  the  human  face — the  eye  and  the 
mouth — are  also  those  most  difficult  of  representation. 
The  archaic  sculptor  realized  their  importance  and  spent 


GREEK    AND    ROMAN     SCULPTURES  205 

his  best  efforts  in  their  study.  Compared  with  earHer 
works,  our  reHef  shows  distinct  advance,  but  the  funda- 
mental faults  are  still  there.  The  eye,  though  seen  in 
profile,  is  represented  in  full  front,  and  in  his  eagerness  to 


FIG.    122.     DETAIL  FROM  ATHENIAN  GRAVESTONE 
VI  CENTURY  B.C. 


give  life  to  the  face  the  artist  has  projected  the  eye  itself, 
instead  of  modeling  correctly  the  muscles  that  surround 
it.  The  transition  between  the  corners  of  the  mouth  and 
the  cheek  is  not  yet  successfully  rendered;  but  the  lips 
themselves  are  full  and  lifelike,  and  are  no  longer  drawn 
up  into  an  exaggerated  "archaic  smile."    The  rendering 


206 


CENTRAL  HALL 


of  the  hair  is  strictly  conventional.  On  the  skull  it  is 
represented  as  a  slightly  wavy  mass,  while  the  ends  along 
the  forehead  and  on  the  neck  are  rolled  up  into  two  rows 
of  spiral  curls.    The  effect  is  certainly  not  natural,  but  it 

is  nevertheless  very  decorative. 
Artists  of  our  own  time,  for 
instance,  have  utilized  this  fea- 
ture in  their  work,  with  suc- 
cess. Another  mistake  of  the 
archaic  artist,  also  seen  in  our 
head,  is  the  inadequate  rep- 
resentation of  the  cranium, 
which  is  flat  and  too  small. 

Such  are  the  limitations  of 
our  sculptor.  And  still  his 
work  is  one  of  great  beauty. 
He  had  a  strong  decorative 
sense  and  a  feeling  for  beauty 
of  line,  as  shown  in  the  con- 
tour of  the  face.  More  than 
that,  he  had  a  fine  apprecia- 
tion of  the  softness  and  deli- 
cacy of  human  flesh,  and  was 
able  to  bring  out  the  contrast 
between  the  soft  modulations 
of  the  youth's  face  and  the  hard 
surface  of  the  background. 
The  treatment  of  the  body  by  the  archaic  Greek  artist 
can  be  best  studied  in  a  fragment  from  another  Athenian 
grave  stele  of  the  period.  This  shows  the  lower  part  of  a 
youth,  with  one  hand  hanging  loosely  by  his  side,  the  other 
grasping  a  staff  (No.  i,  East  Wall).  There  are  many 
obvious  mistakes  in  modeling,  but  the  artist's  live  interest 
in  his  subject  and  the  fine  instinct  which  he  brought  to 


FIG. 


123.  FEMALE  STATUE 
VI  CENTURY  B.C. 


FIG.    124.     GIRL   BRINGING  OFFERINGS 
VI  CENTURY  B.C. 


208 


CENTRAL  HALL 


bear  on  it  are  everywhere  apparent.  As  on  the  other  stele, 
the  background  is  painted  red;  any  other  colors  that  were 
originally  used  have  now  disappeared. 

A  third  grave  stele  has  a  painted  instead  of  a  sculptured 

No.  22  representation  (No.  22,  West  Wall).  Unfortunately,  the 
portion  of  the  slab  with  the  upper  part  of  the  figure  is 
missing,  and  even  on  what  remains  the  design  is  not  in 
good  condition.  We  can  still  distinguish,  however,  the 
lower  part  of  a  nude  man  in  profile  to  right,  similar  to  those 
on  the  stelai  just  described.  The  background  is  painted 
red,  against  which  the  figure  stands  out  white  in  the  color 
of  the  marble.  That  this  was  the  original  effect  is  not  at 
all  certain;  for  the  body  may  very  well  have  been  painted 
a  different  color,  which  did  not  weather  so  well  as  the  red, 
and  has  therefore  completely  disappeared.  For  from  the 
remains  of  color  on  other  stelai  we  know  that  the  red  paint 
was  by  far  the  most  durable.  The  akroterion  or  finial  has 
an  ornament  consisting  of  a  palmette  rising  from  volutes, 
the  leaves  of  the  palmettes  being  painted  alternately  red 
and  grayish  blue.  The  inscription  on  the  base  (which 
is  soldered  to  the  slab  with  lead)  reads  ANTIAENEI  : 
fiANAI^  +  E^:  EPEeEKEN,  "  Panaisches  dedicated  this 
to  Antigenes."  We  may  suppose  that  Panaisches  was  the 
father  of  Antigenes  and  set  up  the  monument  to  his  son, 
who  died  while  still  young. 

Statues  The  draped  female  type  is  represented  in  our  collection 
by  two  statues.    One  is  a  torso  from  the  island  of  Paros 

No.  2  (No.  2,  East  Wall;  fig.  123),  of  the  same  style  as  the  famous 
"Maidens"  in  the  Akropolis  Museum.^  Like  them  she  is 
standing  in  a  stiff  attitude,  and  is  wearing  a  chiton,  or 
undergarment,  and  over  it  a  mantle  arranged  in  elaborate 
folds.    One  arm  was  bent  at  the  elbow  and  must  have 

colored  reproduction  in  plaster  of  one  of  these  Maidens  will  be 
found  in  our  Collection  of  Casts. 


FIG.  125.  ATHENIAN  GRAVESTONE 
SECOND  HALF  OF  V  CENTURY  B.C. 


210 


CENTRAL  HALL 


grasped  an  offering,  while  the  other  was  lowered  to  hold  a 
fold  of  the  drapery.  In  spite  of  the  mutilated  condition 
of  the  statue  we  can  still  appreciate,  especially  on  the  back, 
the  fine  understanding  which  the  artist  showed  in  the  ren- 
dering of  his  drapery.  The  treatment  of  the  folds,  though 
conventional,  is  highly  decorative,  and  the  importance  of 
having  the  figure  felt  through  the  drapery  is  fully  realized. 

In  this  respect  the  statue 
is  a  true  precursor  of  the 
famous  Nike  tying  her 
sandal,  produced  about  a 
century  later. 

The  other  female  statue, 
probably  from  the  neigh- 
borhood of  Laurion,  repre- 
sents a  girl  standing  in  the 
same  stiff  attitude,  holding 
a  rabbit  in  one  hand,  a 
pomegranate  in  the  other 
(No.  3,  East  Wall;  fig. 
124).  She  wears  only  the 
FIG.  126.  GRAVESTONE  chiton,  which  is  girt  at 
END  OF  V  CENTURY  B.C.         the  waist  aud  pulled  out 

at  the  sides.  The  skirt 
part  is  not  allowed  to  hang  freely,  but  is  drawn  tight 
with  a  fold  of  drapery  tucked  through  the  belt.  In  the 
rendering  of  the  body  beneath  the  drapery  this  statue  does 
not  show  the  same  advance  as  the  figure  just  described; 
but  the  conception  of  the  whole  has  great  charm.  It 
will  be  readily  noticed  that  there  is  a  discrepancy  in  style 
between  the  head  and  body.  The  head  is  not  genuinely 
archaic  either  in  features  or  in  headdress;  the  rear  view  of 
the  statue  shows  that  the  head  had  originally  long  hair 
hanging  down  the  back.    The  present  head  is,  however, 


No.  3 


GREEK    AND    ROMAN     SCULPTURES  211 


neither  a  modern  work  nor  one  of  the  famihar  archaizing 
works  of  the  Roman  period.  The  only  plausible  explana- 
tion is  that  the  statue  was  damaged  in  ancient  times  and 
was  supplied  with  a  new  head  in  the  fifth  century  B.C.,  to 
which  period  the  style  of 
the  headdress  points.  At 
the  same  time  a  new  left 
arm  was  supplied,  since 
this  is,  like  the  head,  in 
a  separate  piece  and  at- 
tached by  rivets. 

Both  of  these  statues 
were  probably  erected  as 
votive  offerings  in  a  tem- 
ple and  represent  women 
bringing  gifts  to  a  divinity. 

FIFTH  CENTURY  B.C. 


FIG.    127.  GRAVESTONE 
SECOND  HALF  OF  V  CENTURY  B.C. 


Grave 
stones 


We  have  as  yet  no 
marble  sculptures  of  the 
first  half  of  the  fifth  cen- 
tury B.C.;  but  the  second 
half  of  that  century,  the 
period  of  the  highest  de- 
velopment, is  represented 
by  a  number  of  examples. 
One  of  the  finest  is  an 

Athenian  grave  monument  with  a  representation  of  a 
woman  in  relief  (No.  4,  East  Wall;  fig.  125).  She  is  No.  4 
seated  in  a  chair  and  is  holding  up  an  oil-jug,  while  what 
appears  to  be  a  toilet-box  is  resting  on  her  lap.  We  have 
noted  in  the  archaic  period  the  custom  of  the  Greeks  of 
representing  on  their  gravestones  the  deceased  as  he  ap- 
peared in  everyday  life.   This  custom  continued  through- 


212 


CENTRAL  HALL 


out  this  and  later  periods.  We  must  identify  this  figure, 
therefore,  with  the  woman  in  whose  memory  the  stone 
was  erected,  holding  the  objects  she  commonly  used  in 
her  daily  life. 

To  appreciate  the  progress  made  by  Greek  sculptors  in 
the  rendering  of  drapery,  it  is  instructive  to  compare  this 

figure  with  the  two  draped 


female  statues  of  the  sixth 
century  just  described. 
The  difficulties  which  the 
archaic  sculptor  had  to 
encounter  have  now  been 
completely  mastered.  The 
soft  material  of  the  chiton, 
its  numberless  little  folds, 
and  the  form  of  the  hu- 
man body  beneath  it, 
have  all  been  rendered 
with  the  greatest  skill; 
the  effect  of  the  whole  is 
rich  and  varied,  and  at  the 
same  time  simple  and  dig- 
nified. Another  charac- 
teristic feature  is  the  easy 
posture  of  the  woman. 
She  is  seated  in  her  chair,  but  entirely  separate  from  it. 
That  this  quality  was  only  achieved  after  long  struggle 
we  shall  realize  if  we  compare  our  figure,  for  instance,  with 
the  sixth-century  seated  statues  from  Didyma  (see  Casts 
Nos.  1 240-1 243),  where  the  figure  and  the  chair  are  as  if 
of  one  piece.  The  head  of  our  relief  is  missing.  From 
the  style  of  the  drapery,  however,  which  resembles  that 
of  the  Parthenon  pediment  sculptures,  we  can  date  the 
relief  soon  after  the  middle  of  the  fifth  century  B.C. 


FIG.    128.     TORSO  OF  A  BOY 
V  CENTURY  B.C. 


GREEK    AND    ROMAN     SCULPTURES  213 

Two  Other  Athenian  gravestones  with  draped  female 
figures  in  relief  can  be  assigned  to  this  epoch.  One  shows 
a  young  girl  represented  standing  and  holding  up  in  one 
hand  a  pomegranate,  while  the  other  grasps  a  bag  (No.  21,  No.  21 
West  Wall;  fig.  127).  The  simplicity  of  the  pose  and  the 
fine,  broad  treatment  of  the  drapery  associate  this  relief 
with  the  maidens  on  the  eastern  frieze  of  the  Parthenon, 
with  which  it  is  no 
doubt  contemporary. 
On  the  other  grave- 
stone is  a  seated  wom- 
an, her  chiton  arranged 
in  simple,  graceful  folds 
(No.  20,  West  Wall; 
fig.  126).  In  pose  and 
general  character  she 
recalls  the  well-known 
gravestone  of  Hegeso  in 
the  Dipylon  cemetery 
at  Athens  (see  Cast  No. 
618),  and  may  there- 
fore be  dated  toward 
the  end  of  the  fifth  fig.  129.  torso  of  zeus(?) 
century.    The  head  is  ^  century  b.c. 

missing. 

The  nude  male  type  of  this  period  is  shown  in  several  Statues 
beautiful  examples.  One  is  the  torso  of  a  boy,  evidently 
conceived  as  in  violent  action  and  perhaps  to  be  identified 
with  a  Niobid  (No.  23;  fig.  128).  In  this  piece  we  can  No.  2^ 
appreciate  to  the  full  the  subtle,  yet  large  manner  in  which 
Greek  sculptors  of  this  period  modeled  the  human  body. 
The  more  important  muscles  are  all  correctly  indicated, 
but  with  a  tendency  toward  broad  surfaces  rather  than 
detailed  elaboration.    The  sculptor's  aim  was  in  fact  to 


No.  20 


214  CENTRAL  HALL 

represent  the  human  body  perfectly  and  harmoniously 
developed  without  undue  accentuation  of  any  of  its  parts. 
It  is  this  feeling  for  moderation  and  for  pure  beauty  which 
gives  Greek  art  of  this  epoch  its  distinction. 
Another  important  piece  is  a  fragmentary  figure  of  a 

No.  24       seated  man,  considerably  less  than  half  life  size  (No.  24; 

fig.  129).  While  the  torso  of  the  boy  was  represented  in 
violent  action,  this  figure  is  in  complete  repose.  The 
modeling  shows  the  same  subtlety  and  restraint  which  we 
noticed  in  the  torso,  and  the  same  distinction  between  the 
hard  and  soft  surfaces  of  the  body.  The  identity  of  the 
figure  is  not  certain.  The  proportions  are  those  of  a  man 
of  mature  age  and  ideal  type,  such  as  are  usually  associated 
in  Greek  art  with  Zeus,  whom  it  possibly  represents.  There 
are  indications  that  this  figure  is  from  a  group  which  per- 
haps decorated  a  pediment.  On  each  side  the  drapery  is 
interrupted  by  an  angular  cutting  which  was  evidently 
made  for  the  reception  of  another  figure  or  large  object, 
and  on  the  left  side  there  is  a  dowel  hole  which  must  have 
served  for  attachment.  The  body  is,  moreover,  turned  to 
the  left,  as  though  toward  another  figure. 

No.  27  A  third  male  statue  (No.  27)  belongs  to  a  different  class 
from  the  two  just  discussed,  inasmuch  as  it  is  not  of  Greek 
workmanship,  but  a  Roman  copy  of  a  Greek  work;  that 
is,  it  was  executed  when  Greece  had  fallen  under  the 
dominion  of  Rome,  and  the  Romans  were  not  only  import- 
ing Greek  originals  from  Greece,  but  copying  Greek  works 
of  all  periods  to  beautify  their  houses  and  public  places 
(see  p.  176).  As  explained  in  the  Introduction,  such  sculp- 
tures, when  faithful  copies  of  Greek  originals,  are  included 
in  the  section  to  which  they  stylistically  belong.  This 
statue  represents  a  delicately  formed  boy,  about  two-thirds 
life  size.  Though  in  fragmentary  condition,  it  is  possible 
to  reconstruct  the  original  motive.    He  was  standing  with 


FIG.    130.  ATHLETE 
ROMAN  COPY  OF  A  GREEK  WORK 
OF  THE  V  CENTURY  B.C. 


2l6 


CENTRAL  HALL 


his  weight  on  his  left  leg,  the  right  hand  resting  on  a  pillar 
and  the  left  hand  laid  on  his  back.  The  place  where  the 
pillar  was  attached  is  visible  on  the  right  thigh,  while  the 
left  hand  is  preserved  at  the  back.  The  statue  is  a  variant 
of  a  well-known  type  generally  called  "Narkissos,"  the 
position  being  the  same,  only  reversed.  A  large  number 
of  extant  copies  testify  to  the  popularity  of  the  figure  in 


FIG.    131.  LION 
END  OF  V  CENTURY  B.C. 


antiquity.^  It  is  generally  attributed  to  the  immediate 
circle  of  the  great  Argive  sculptor,  Polykleitos,  and  was 
probably  executed  by  one  of  his  pupils  about  400  B.C. 
Various  interpretations  of  the  figure  have  been  suggested, 
the  most  probable,  on  the  whole,  being  that  of  Adonis. 
The  workmanship  of  our  torso  is  excellent,  the  modeling 
being  unusually  fresh  and  careful  for  Roman  work. 

Heads  A  head  of  a  youth  (fig.  1 30),  though  also  of  Roman  work- 

manship, is  of  great  artistic  value;  for  the  sculptor  has 
clearly  caught  much  of  the  spirit  of  the  Greek  original 

No.  12       (No.  12,  West  Wall).    The  youth  is  characterized  as  an 

1  For  a  list  of  replicas  see  A.  Furtwangler,  Masterpieces  of  Greek  Sculp- 
ture, p.  272,  note  4, 


GREEK    AND    ROMAN     SCULPTURES  217 


athlete  by  the  fillet  in  his  hair,  which  is  the  badge  of  victory 
in  an  athletic  contest.  On  the  top  of  the  head  is  a  small 
square  projection,  probably  a  support  for  an  arm,  indicat- 
ing that  the  youth  stood  with  one  arm  resting  on  his  head. 
He  may  be  interpreted 
therefore  as  a  victorious 
athlete  resting  after  a 
competition.  To  illustrate 
the  idealizing  tendency  of 
fifth-century  Greek  sculp- 
ture we  could  hardly  have 
a  better  example;  for  the 
head  represents  in  full 
measure  the  Greek  ideal 
of  the  beauty  of  young 
manhood,  a  beauty  both 
physical  and  intellectual, 
in  which  the  dominant 
note  is  serenity.  We  can 
well  believe  that  the  fig.  132.  detail 

Greeks  who  conceived  this  head  of  lion 

as  their  ideal  of  beauty 

also  adopted  "moderation  in  all  things'*  as  the  standard 
of  their  conduct. 

Besides  our  head,  four  other  replicas  of  this  type  exist, 
of  which  the  best  known  is  in  the  possession  of  Lord  Lecon- 
field  at  Petworth.  The  original  statue  was  therefore,  no 
doubt,  a  famous  work.  Who  the  sculptor  was  it  is  impos- 
sible to  say  with  any  certainty.  The  name  Kresilas,  a 
Cretan  sculptor  who  worked  in  Athens,  has  been  suggested; 
and  though  the  evidence  is  rather  slender,  it  is  not  an 
improbable  theory.^ 

A  head  from  a  herm,  representing  a  bearded  male  deity, 

^  See  Furtwangler,  Masterpieces,  pp.  161  ff. 


2l8 


CENTRAL  HALL 


No.  5  is  another  beautiful  example  of  idealistic  sculpture  (No.  5, 
East  Wall).  It  is  slightly  earlier  in  date  than  the  two 
heads  just  described,  the  treatment  of  the  hair  and  the 
severe  type  of  face,  with  its  fine  dignity  and  repose,  being 
characteristic  of  Attic  work  of  the  middle  of  the  fifth  cen- 
tury B.C.  It  is  not  a  Greek  original,  but  a  Roman  copy. 
The  type  is  known  from  several  other  replicas,  now  at 
Nimes,  Madrid,  Florence,  Paris,  etc.,  among  which  our 
head  probably  ranks  as  the  best  in  quality.  The  special 
deity  represented  is  uncertain,  as  the  type  is  equally  char- 
acteristic of  Zeus  and  Dionysos,  and  besides  the  fillet  in 
the  hair,  which  would  be  appropriate  to  both  gods,  there 
is  no  attribute. 

Animals  The  Statue  of  a  lion  (No.  25;  figs.  1 31-132)  is  a  splendid 
25  specimen  of  Greek  animal  sculpture.  He  is  represented 
in  a  crouching  position,  with  mouth  wide  open,  and  the 
tail  (now  lost)  lashing  his  sides.  From  the  point  of  view 
of  superficial  likeness  it  is  in  several  points  obviously  con- 
ventionalized. The  head  is  too  small,  the  mane  is  treated 
in  a  stiff,  unnatural  manner,  and  the  foliations  of  the  skin 
round  the  jaws  are,  as  has  been  pointed  out,  more  canine 
than  feline.^  But  these  are  details.  The  chief  character- 
istic of  the  lion,  its  fierceness,  and  the  strength  of  its  supple 
body  have  rarely  been  better  expressed.  And  in  this  re- 
spect many  a  lion  of  a  later  period  (and  especially  of  our 
own  time)  which  is  more  correct  in  details  will  seem  lifeless 
and  conventional  by  comparison. 

Our  lion  is  closely  connected  in  style  with  the  lions  from 
the  Nereid  Monument,  now  in  the  British  Museum,  though 
it  probably  did  not  form  part  of  that  monument,  since  it 
appears  to  be  of  a  different  marble.  There  can  be  no 
doubt,  however,  that  it  is  a  product  of  the  same  period  and 
school. 

^See  John  Marshall,  Museum  Bulletin,  1910,  p.  210. 


FIG.    133.     ATHENIAN  GRAVESTONE 
IV  CENTURY  B.C. 


220 


CENTRAL  HALL 


FOURTH  CENTURY 

Fourth-century  sculpture  is  represented  in  our  collection 
by  numerous  examples.  They  consist  of  gravestones  of 
different  types,  male  and  female  statues,  heads  broken 
from  statues,  and  reliefs. 

stones"  Among  the  gravestones  the  most  important  is  one  in  the 
form  of  a  shrine  with  the  sculptured  slab  recessed  between 

No.  59  two  pilasters  (No.  59,  south  end  of  the  hall).  The  pilasters 
are  both  missing  and  had  to  be  restored,  but  the  cornice 
is  largely  preserved  and  bears  the  dedicatory  inscription. 
From  this  we  learn  that  the  monument  was  erected  to 
Sostrate,  daughter  of  Thymokles  of  Prasiae  in  Attica.  On 
the  relief  are  represented  a  seated  man  with  a  girl  stand- 
ing in  front  of  him  and  another  woman  behind  him,  hold- 
ing a  child  by  the  hand  (fig.  133).  It  is  clearly  a  family 
group.  We  may  suppose  that  the  girl  standing  in  front 
is  Sostrate,  probably  the  daughter  who  has  died,  and  that 
the  others  are  the  father,  the  mother,  and  a  younger  sister. 
Sorrow  for  the  departed  is  shown  only  in  the  quiet  sadness 
of  the  faces,  which  imparts  to  the  scene  an  element  of 
pathos  difficult  to  describe.  This  note  of  genuine  but 
serene  sorrow  appears  regularly  on  these  grave  monuments 
and  shows  us  the  Greek  sculptor's  conception  of  mourning 
as  tranquil  resignation  rather  than  unrestrained  grief. 
This  is  the  more  remarkable  since  we  learn  from  Greek 
literature  and  representations  on  some  Greek  vases  that 
wild  manifestations  of  grief,  with  women  tearing  their  hair, 
were  well  known  in  Greek  life;  which,  indeed,  makes  us 
admire  the  more  the  artistic  sense  of  the  sculptor,  who 
felt  that  such  representations  were  no  fit  subject  for  him, 
and  who  chose  instead  the  quiet  scenes  which  make  so 
strong  an  appeal  to  us  today.  It  should  be  noted  that 
the  child  on  this  relief  appears  more  like  a  diminutive 


GREEK    AND    ROMAN     SCULPTURES     22  1 


adult  than  a  child.  The  inability  to  represent  children  is 
general  in  Greek  sculpture  of  this  and  the  preceding 
periods.  It  was  not  until  the  Hellenistic  age  that  children 
were  properly  studied  and  represented  in  a  lifelike  manner. 

A  stele  of  similar  type,  but  with  the  slab  not  so  much 
recessed,  was  erected,  we  learn  from  the  inscription,  to 
Sostratos,  the  son  of  Teisan- 
dros,  of  the  deme  of  Paianiea : 
^n^TPATO^  :TEI^ANAPO 
:  PAIANIEY^  (No.  7,  East 
Wall;  fig.  134).  He  is  repre- 
sented in  the  act  of  scraping 
his  body  with  a  strigil,  ac- 
cording to  the  custom  of 
athletes,  to  remove  the  dust 
and  oil  from  his  skin.  The 
slave  boy  by  his  side  is  hold- 
ing his  garment  and  oil  bot- 
tle. The  scene  is  a  simple 
occurrence  of  daily  life,  but 
here  again  a  certain  solem- 
nity is  imparted  to  it  by  the 
dreamy  sadness  in  the  youth's 
face  and  the  wistful  expres- 
sion with  which  the  boy  looks 
up  at  his  master.  The  cor- 
nice of  the  stele  is  decorated 
at  each  angle  with  a  sphinx, 

and  in  the  center  with  a  mourning  Siren,  beating  her  breast 
with  one  hand  and  tearing  her  hair  with  the  other.  The 
workmanship,  though  fresh  and  vigorous,  is  careless  in  de- 
tail and  finish ;  thus  the  left  arm  of  the  youth,  which  is  raised 
to  his  head,  is  modeled  only  on  the  front,  where  it  would 
be  seen  by  the  spectator.    This  carelessness  in  execution 


FIG. 


134.     GRAVESTONE  OF 

AN  ATHLETE 
IV  CENTURY  B.C. 


No. 


222 


CENTRAL  HALL 


is  often  to  be  found  in  Greek  gravestones,  and  is  to  be  ex- 
plained by  the  fact  that  the  majority  of  them  are  the  work 
of  artisans  rather  than  sculptors.  Gravestones  had  to  be 
produced  in  large  numbers,  and  often  for  people  who  could 
not  afford  a  costly  work.  Conditions,  in  fact,  were  the 
same  in  this  respect  then  as  they  are  now;  we  too  should 
not  expect  to  find  the  best  contemporary  sculpture  in 


woman  is  seated  on  a  chair  and  is  clasping  the  hand  of  an 
older  woman  who  is  standing  before  her;  between  them 
stands  another  woman  carrying  a  casket.  From  the  promi- 
nence of  her  position,  the  seated  woman  is  evidently  the 
deceased,  while  the  one  whose  hand  she  is  holding  in  token 
of  farewell  is  probably  her  mother;  the  latter  has  cut  her 
hair  short  as  a  sign  of  mourning.  On  the  entablature  above 
the  relief  are  inscribed  the  names  Lysistrate  and  Panathe- 
nais:  AI^I^PATHi;  pANAOHNAI^.    The  first  is  undoubt- 

^The  ian  after  the  second  sigma  has  been  left  out,  either  accidentally 
or  through  the  illiteracy  of  the  writer. 


cemeteries,  save  in  exception- 
al cases.  The  fact,  however, 
that  Greek  gravestones,  even 
when  not  worked  with  great 
care,  always  show  harmonious 
compositions,  beautiful  types 
of  faces,  and  the  restraint  of 
which  we  have  already  spoken, 
is  testimony  for  the  high  level 
of  good  taste  in  the  whole 
community. 


FIG.    135.  AKROTERION 
OF  A  GRAVESTONE 


IV  CENTURY  B.C. 


A  third  gravestone  of  this 
type  is  decorated  with  a  repre- 
sentation which  is  the  most 
frequent  on  these  monuments 
— a  farewell  scene  (No.  10, 
East  Wall ;  fig.  136).  A  young 


GREEK    AND    ROMAN     SCULPTURES  223 


edly  the  name  of  the  person  for  whom  the  stone  was  erected, 
that  is,  the  seated  woman  on  our  rehef.  Panathenais  may 
be  the  name  of  the  mother  or  of  another  member  of  the 
family  who  died  subsequently  and  was  buried  in  the  same 
plot,  the  name  being  added  at  the  time  of  the  later  burial. 

Another  type  of 
stele  represented  in 
our  collection  and 
common  in  Greece 
during  the  fourth  cen- 
tury is  that  of  a  plain 
marble  shaft  about 
eight  or  ten  feet  in 
height,  crowned  by  a 
fmial  in  the  form  of  an 
akroterion.  Only  the 
akroterion  is  shown  in 
our  example^  (No.  6, 
East  Wall;  fig.  135). 
This  is  decorated  with 
a  beautiful  design  of 
an  anthemion  rising 
f  rom  a  bed  of  akant  hos 
leaves,  with  a  flower  in 
the  middle;  the  stem 
of  the  flower  is  miss- 
ing and  was  probably 
originally  painted. 

Besides  such  decorated  slabs  the  Greeks  used  as  grave 
monuments  marble  vases,  sometimes  of  large  dimensions 

^The  shaft  belonging  to  this  akroterion  was  preserved,  but  has  appar- 
ently been  lost.  The  two  are  published  together  in  Conze,  Attische 
Grabreliefs,  No.  1539.  The  inscription  on  the  shaft  shows  that  the  stele 
was  erected  to  one  Timotheos  and  to  his  son  Nikon,  both  of  the  deme  of 
Kephale. 


FIG. 


136.     GRAVESTONE  WITH  A 
FAREWELL  SCENE 
IV  CENTURY  B.C. 


No.  6 


224  CENTRAL  HALL 

and  regularly  ornamented  with  reliefs.  The  origin  of  this 
custom  is  clearly  derived  from  that  of  placing  terracotta 
vases  on  the  tombs  as  offerings  to  the  dead.    A  marble 

No.  i8  lekythos  in  our  collection  (No.  i8,  West  Wall)  is  decorated 
with  a  scene  representing  a  man  and  a  woman  clasping 
hands,  and  a  seated  woman  holding  out  a  bird  to  a  little 
girl  (fig.  137).  The  monument  was  probably  raised  in 
memory  of  a  woman  who  is  here  shown  in  two  aspects — 
in  her  relation  to  her  husband,  to  whom  she  is  quietly  bid- 
ding farewell,  and  to  her  child,  with  whom  she  is  playing, 
as  she  might  have  been  any  day  during  her  life. 

Statues  Among  our  statues  of  this  period  two  are  monumental 
pieces  of  importance.  One  is  a  statue  of  Eirene,  the  god- 
dess of  peace,  and  in  its  present  fragmentary  condition 
(the  head  and  both  arms  are  missing)  stands  about  six  feet 

No.  /5  high  (No.  15,  West  Wall;  fig.  138).  It  is  of  Roman,  not 
of  Greek  execution,  and  is  a  copy  of  what  must  have  been 
a  famous  original;  for  we  know  of  another  Roman  replica 
in  the  Glyptothek  in  Munich,  and  a  fragment  from  a  third 
in  the  museum  at  the  Peiraieus.  From  the  statue  in 
Munich,  which  is  more  complete  than  ours,  and  from  an 
Athenian  coin  on  which  the  statue  is  reproduced,  we  learn 
the  original  motive  of  our  figure,  viz.:  that  she  held  in  her 
left  arm  the  infant  Ploutos,  the  god  of  wealth,  and  that  her 
right  arm  was  extended  and  held  a  sceptre.  It  was,  in 
other  words,  an  allegorical  representation  of  Peace,  the 
guardian  of  Prosperity.  Such  a  group  is  referred  to  by 
Pausanias,  who  tells  us  that  it  stood  in  Athens  on  the 
Areopagus  and  was  the  work  of  Kephisodotos.^  The  exact 
period  of  the  original  Greek  statue  has  been  the  subject  of 
much  discussion.  The  two  dates  assigned  to  it  are  404 
B.C.  and  375  B.C.,  the  years  of  the  end  of  the  Pelopon- 
nesian  war  and  the  battle  of  Leukas,  respectively.  From 

^See  Pausanias,  IX,  6,  i,  and  I,  8,  2. 


GREEK    AND    ROMAN     SCULPTURES  225 


the  Style  of  the  statue  it  ap- 
pears to  be  a  work  belonging 
to  the  transition  between  the 
older  and  the  younger  Attic 
schools;  for  the  treatment  of 
the  drapery  with  its  simple, 
massive  folds,  and  the  splen- 
did dignity  of  the  posture  are 
reminiscent  of  fifth-century 
sculpture,  while  the  gentle  ex- 
pression of  the  face  and  the 
delicate  turn  of  the  head  show 
the  influence  of  new  ideas. 

The  other  large  statue  is 
likewise  a  draped  female  fig- 
ure, of  about  the  same  height, 
and  its  head  is  also  missing 
(No.  19,  West  Wall).  It  is 
not  a  recent  discovery,  but 
belonged  to  the  Giustiniani 
Collection  of  marbles,  part  of 
which  was  presented  to  the 
Museum  by  Mrs.  Frederick  F. 
Thompson  in  1903.  It  was 
restored  in  the  seventeenth 
century  as  a  statue  of  For- 
tuna,  but  the  modern  parts 
were  removed  on  its  arrival 
at  this  Museum.  Though  not 
the  work  of  a  great  master, 
it  is  an  impressive,  dignified 
piece,  typical  of  its  period. 

In  the  fourth  century  B.C.  the  nude  female  form  had 
come  into  prominence  with  Greek  sculptors.    It  had,  of 


FIG.    137.  ATHENIAN 
GRAVESTONE 
IV  CENTURY  B.C. 


226 


CENTRAL  HALL 


course,  been  studied  for  a  long  time,  and  represented  under- 
neath transparent  drapery  and  in  statues  only  partly 
covered.  But  now  completely  nude  statues  became  com- 
mon, the  delicate  proportions  and  beautiful  flowing  lines 
of  the  female  body  naturally  appealing  to  the  softened 
taste  of  this  epoch.  The  great  sculptor  Praxiteles  appears 
to  have  been  one  of  the  important  pioneers  in  this  direc- 
tion, and  by  the  creation  of  his  famous  Aphrodite  of  Knidos 
to  have  greatly  influenced  contemporary  and  later  art. 
The  only  example  of  this  type  in  our  collection  is  a  small 
No.  26  torso  of  Aphrodite  (No.  26).  The  pose  is  familiar  from 
many  other  representations,  so  that  the  Greek  original,  of 
which  ours  is  probably  a  Roman  copy,  must  have  been  a 
statue  of  considerable  fame.  The  goddess  was  represented 
as  raising  both  hands  to  hold  her  hair,  as  if  to  arrange  it  or 
to  wring  out  the  water  after  the  bath.  Our  fragment  will 
give  an  idea  of  the  graceful  lines  formed  by  this  movement 
and  also  of  the  fine  proportions  of  the  delicate,  yet  well- 
developed  body. 

No.  16  The  life-size  torso  of  a  boy  (No.  16,  West  Wall)  is  like- 

wise a  Roman  copy.  The  easy  attitude,  soft,  rounded 
forms,  and  harmonious  curve  of  the  figure  are  characteris- 
tics of  the  work  of  Praxiteles,  and  it  is  under  his  influence 
that  the  original  was  probably  created. 

Heads  For  the  study  of  the  female  head  during  this  period  we 

have  a  number  of  examples.    The  earliest  and  most  im- 

No.  17       portant  is  the  head  of  a  young  goddess  (No.  1 7,  West  Wall; 

fig.  139),  considerably  larger  than  life  size  and  evidently 
made  for  insertion  in  a  statue.  It  is  a  product  of  the  early 
fourth  century,  and  belongs  to  the  transition  period  be- 
tween the  Pheidian  and  Praxitelean  periods;  for  it  com- 
bines a  fine  dignity  and  simplicity  with  delicate  charm. 
There  are  few  heads,  indeed,  in  which  the  Greek  ideal  of 
harmony  and  quiet  serenity  has  found  better  expression. 


FIG.    138.  EIRENE 
ROMAN  COPY  OF  A  GREEK  WORK 
ABOUT  400  B.C. 


228 


CENTRAL  HALL 


Its  colossal  size  shows  that  it  was  intended  to  represent  a 
goddess,  and  its  youthful  character  makes  it  probable  that 
she  was  a  maiden,  not  a  matron.  The  choice  therefore 
appears  to  be  between  Persephone  and  Hygeia. 

A  head  of  a  girl,  given  to  the  Museum  by  James  Loeb, 
9  is  a  typical  example  of  fourth-century  sculpture  (No.  9, 
East  Wall).  Compared  with  the  work  of  the  preceding 
period  there  is  a  greater  softness,  which  tends  to  give  it 
individual  charm  in  the  place  of  the  former  more  idealized 
and  severe  beauty.  This  quality  is  obtained  chiefly  by 
the  delicate  modeling  of  the  surface  and  by  the  treatment 
of  the  eye,  which  is  deeper  set  than  formerly  and  has  the 
lower  lid  only  slightly  accentuated.  Another  difference  is 
the  more  sketchy  and  consequently  more  lifelike  rendering 
of  the  hair.  The  general  character  of  this  head  and  the 
fact  that  the  back  of  the  head  and  the  left  side  of  the  skull 
are  only  roughly  worked  suggest  that  it  is  from  a  figure  on 
a  grave  monument,  intended  to  be  seen  nearly  or  quite  in 
No.  8  profile,  not  from  all  sides.  No.  8,  East  Wall,  is  another 
fourth-century  example  of  a  female  head,  unfortunately  in 
a  mutilated  condition. 

In  the  male  heads  of  this  epoch  the  same  changes  toward 
greater  softness  and  individualization  can  be  observed  as 
in  the  female  heads.  Our  collection  includes  some  works 
of  high  merit,  foremost  among  which  are  two,  one  illus- 
trating the  style  of  Praxiteles,  the  other  of  Skopas.  The 
Praxitelean  piece  is  the  bust  of  a  young  athlete  (fig.  141), 
evidently  a  fragment  of  a  statue,  trimmed  into  its  present 
shape  in  modern  times  (placed  in  Room  VI,  on  Pedestal  H). 
It  is  a  work  of  remarkable  beauty,  and  an  excellent  illus- 
tration of  the  refinement  and  grace  of  fourth-century  con- 
ceptions. A  comparison  with  the  Hermes  of  Praxiteles 
(see  Collection  of  Casts,  No.  691)  shows  that  the  two  have 
many  common  characteristics.    Such  are  the  rounded 


GREEK     AND     ROMAN     SCULPTURES  229 

skull,  the  oval  contour  of  the  face,  the  forehead  protruding 
in  its  lower  half,  and  the  dreamy,  half-closed  eyes.  The 


FIG.    139.     HEAD  OF  A  GODDESS 
IV  CENTURY  B.C. 


rendering  of  the  hair  is  rather  different  in  the  two  heads; 
but  in  ours  it  is  no  less  beautiful,  the  row  of  graceful 
little  curls  crowning  the  forehead  being  one  of  its  most 


230  CENTRAL  HALL 

attractive  features.  The  modeling  in  our  head  shows 
great  dehcacy,  especially  on  the  forehead,  where  it  has 
suffered  less  from  the  cleaning  with  acid  which  the  marble 
underwent  at  some  time.  It  does  not,  however,  approach 
the  wonderful  subtlety  of  the  Hermes;  and  it  is  just  this 
consummate  treatment  of  the  surface  which  must  have 


FIG.    140.     HEAD  OF  A  YOUTH 
IV  CENTURY  B.C. 


distinguished  the  works  of  the  master  from  the  products 
of  his  pupils.  We  must  therefore  assign  our  head  to  an 
able  sculptor  within  the  immediate  influence  of  Praxiteles. 
The  head  may  be  identified  as  an  athlete,  rather  than  a 
divinity  or  hero,  from  the  swollen  cartilage  of  the  ears, 
which  is  the  distinctive  mark  of  the  boxer.  The  only  hero 
to  whom  this  characteristic  might  also  apply  is  Herakles, 
but  with  him  the  type  does  not  correspond  in  other  respects 


FIG,    141.     HEAD  OF  AN  ATHLETE 
IV  CENTURY  B.C. 


232  CENTRAL  HALL 

Skopas,  a  contemporary  of  Praxiteles,  was  one  of  the 
most  individual  of  Greek  sculptors.  He  introduced  a  new 
element  into  Greek  sculpture — that  of  intense  emotion  and 
energy.  This  quality  becomes  particularly  noticeable  when 
compared  with  the  calm,  dreamy  expression  of  the  heads 
of  Praxiteles.  An  excellent  example  of  the  school  of  Sko- 
pas in  our  collection  is  the  head  of  a  youth,  evidently 

No.  14  broken  from  a  relief  (No.  14,  West  Wall;  fig.  140).  The 
expression  of  fiery  energy  is  conveyed  by  the  following 
peculiarities  of  technique,  which  are  common  to  all  Sko- 
pasian  heads.  The  lower  part  of  the  forehead  is  made  very 
prominent  so  as  to  project  beyond  the  upper  half.  The 
eyes  thus  appear  very  deep  set,  an  effect  which  is  height- 
ened by  the  abrupt  transition  from  the  brow  to  the  socket 
of  the  eye;  the  outer  end  of  the  upper  lid  is  almost  hidden 
by  the  overhanging  brow.  The  eye  itself  is  wide  open  and 
turned  upward.  The  modeling  is  flowing,  but  shows  no 
such  delicate  transitions  as  we  noted  in  the  Praxitelean 
style.  The  shape  of  our  head  is  broad  and  short,  though 
its  squareness  is  not  so  marked  as  in  the  two  heads  from 
Tegea,  the  chief  monuments  which  remain  of  Skopas's 
work  (see  Casts  Nos.  716,  717).  The  treatment  of  the  hair 
with  its  short,  massy  curls  is  also  characteristic. 

Reliefs  One  of  the  finest  pieces  in  our  collection  is  undoubtedly 

a  small  relief  representing  a  horseman  riding  to  the  right 

No.  13  (No.  13,  West  Wall;  fig.  142).  He  is  pulling  in  the  reins  of 
his  spirited  animal  and  is  caressing  it  on  the  head,  as  if  to 
calm  its  nervousness.  The  fine,  nervous  bearing  of  the 
horse  and  the  splendid  proportions  and  firm,  easy  seat  of  the 
rider  remind  us  of  the  horsemen  on  the  Parthenon  frieze; 
but  the  more  detailed  modeling  of  the  body  of  the  youth 
and  the  more  individual  type  of  the  face  place  it  not  earlier 
than  the  second  half  of  the  fourth  century.  From  two 
other  reliefs  with  this  subject,  one  in  the  Barracco  Collec- 


FIG.  142.  HORSEMAN 
END  OF  IV  CENTURY  B.C. 


2  34  CENTRAL  HALL 

tion  (see  Collection  Barracco,  pi.  Lll),  the  other  formerly 
in  Madrid  and  now  lost  (published  by  Hiibner  in  Annali 
deir  Instituto,  1862,  pi,  F,  p.  10 1),  we  learn  that  there  was 
originally  a  second  rider  behind  the  one  preserved  on  our 
example.  The  execution  of  our  horseman  is  greatly  supe- 
rior to  that  on  the  other  reliefs;  so  that  while  ours  is  cer- 


FIG.    143.     FRAGMENT  OF  A   FIGHTING  GAUL 
HELLENISTIC  PERIOD 


tainly  of  Greek  workmanship,  they  appear  to  be  replicas 
made  in  Roman  times. 

HELLENISTIC  PERIOD 

Our  collection  includes  a  number  of  first-rate  sculptures 
of  the  Hellenistic  period,  both  of  the  new  realistic  and  of 
the  old  traditional  school.    First  may  be  mentioned  a  frag- 
No.  29       ment  of  a  statue  of  a  fighting  Gaul  (No.  29;  fig.  143).  Only 
the  lower  part  of  the  torso  and  parts  of  both  legs  are  pre- 


FIG.    144.     OLD  MARKET  WOMAN 
II  CENTURY  B.C.(?) 


2  36  CENTRAL  HALL 

served;  but  even  in  its  mutilated  condition  it  shows  a  great 
vitality  and  force,  it  is,  in  fact,  an  excellent  illustration 
of  a  characteristic  of  Greek  sculpture  that,  even  when 
broken,  each  piece  is  beautiful  and  retains  the  quality  of 
the  whole.  The  statue  represents  a  Gaul  striding  forward 
to  attack  an  opponent.  He  wears  the  tight-fitting  trousers 
and  belt  of  the  Celtic  soldier.  But  the  clothes  in  no  way 
conceal  the  strong,  hardy  body;  the  muscles  are  shown  at 
their  utmost  tension,  and  yet  they  are  not  overempha- 
sized, so  that  the  effect  is  one  of  unusual  freshness  and 
energy.  From  the  way  the  left  end  of  the  base  is  worked 
it  is  evident  that  it  was  originally  joined  to  another  base, 
on  which  we  may  assume  stood  the  man's  opponent.  It 
should  be  noted  that  our  figure  had  a  marble  support  from 
the  base  to  the  thigh;  this  practice  was  common  in  Roman 
times  but  is  rare  in  the  Hellenistic  period.  The  statue 
may  be  assigned  to  the  Pergamene  school  of  sculpture. 
That  school  flourished  during  the  reigns  of  Attalos  I  (241- 
197  B.C.)  and  Eumenes  II  (197-159  B.C.),  who  distin- 
guished themselves  by  their  victories  over  the  invading 
hordes  of  Gauls  or  Galatians.  The  group  of  which  our 
fragment  formed  part  must  have  been  erected  to  com- 
memorate one  of  these  victories.  From  its  stylistic  re- 
semblance to  the  so-called  "  Delos  Warrior"  in  the  Na- 
tional Museum  of  Athens  (see  Museum  Cast  No.  805)  it 
has  been  placed  in  the  second  century,  and  tentatively 
assigned  to  the  sculptor  to  whom  that  statue  is  generally 
attributed — Nikeratos  of  Athens.^ 
No.  52  The  statue  of  an  old  market  woman  (No.  52;  fig.  144)  is 

another  excellent  example  of  the  realistic  trend  of  this 
period.  A  peasant  woman,  bent  with  age  and  toil,  is  offer- 
ing her  wares  for  sale.  By  her  side  are  some  chickens  and 
a  basket  of  fruits  or  vegetables,  while  with  her  right  arm 

^See  John  Marshall  in  the  Museum  Bulletin,  1909,  p.  45. 


GREEK    AND    ROMAN     SCULPTURES     2  37 

(now  missing)  she  probably  held  some  similar  product,  the 
merits  of  which  we  may  imagine  her  as  proclaiming.  The 
ivy  wreath  encircling  the  kerchief  on  her  head  may  indicate 
that  she  is  celebrating  some  Bacchic  festival.  It  is  a  figure 
taken  from  ordinary,  every-day  life,  such  as  we  still  may 
see  moving  about  in  the  market-places  of  Italy  and  Greece 
today.    Nor  is  the  subject  idealized.    The  stoop  of  the 


FIG.    145.     TORSO  OF  HERAKLES 
HELLENISTIC  PERIOD 


body,  the  old,  weary  face,  the  shrunken  skin  on  neck  and 
chest,  are  all  copied  directly  from  nature.  It  is  only  in  the 
lower  part  of  the  figure  that  the  old  instinct  for  beauty 
asserted  itself.  The  legs  and  feet  might,  in  fact,  belong  to 
a  young  girl;  while  the  drapery,  which  consists  of  the 
familiar  Greek  chiton  and  himation,  is  full  of  graceful, 
rhythmic  lines.  It  should  be  noted  that  small  traces  of 
color  are  preserved  on  the  statue — a  bright  pink  on  the 
border  of  the  himation  and  a  dark  greenish  on  the  sandal 
strap  of  the  left  foot. 

A  fragmentary  statue  of  Herakles  seated  on  a  rock  and 
leaning  on  his  club  (No.  28;  fig.  145)  shows  the  forceful  No.  28 


2  38  CENTRAL  HALL 

modeling  of  Hellenistic  artists.  The  powerful,  relaxed 
frame  of  the  hero  is  represented  not  only  with  thorough 
knowledge  of  anatomy,  but  with  understanding  for  the 
soft  texture  of  the  flesh.  The  transition  from  plane  to 
plane,  though  more  abrupt  than  in  works  of  earlier  periods, 
is  rendered  with  great  skill;  especially  beautiful  is  the  un- 
dulating surface  on  the  chest  and  back.  The  folds  of  flesh 
just  above  the  navel  are  a  realistic  touch  characteristic  of 
the  age. 

Both  in  subject  and  in  conception  this  statue  may  be 
compared  with  the  famous  Belvedere  torso  in  the  Vatican 
(see  Cast  No.  841).  Our  torso  is,  however,  an  original 
work,  probably  of  about  300  B.C.;  while  the  Vatican  one 
is  a  copy  executed  in  the  first  century  B.C.  The  statue 
came  from  Valladolid,  Spain,  but  we  do  not  know  whether 
it  was  actually  found  there.  The  polish  on  the  surface  of 
the  statue  is  not  original  (it  runs  over  the  cuttings  on  the 
shoulders),  and  since  this  sort  of  surface  gloss  is  charac- 
teristic of  the  cinquecento,  it  has  been  suggested^  that  the 
piece  was  found  centuries  ago,  perhaps  in  Rome,  and  ex- 
ported to  Spain. 

It  became  a  general  custom  in  the  Hellenistic  period  to 
erect  statues  in  honor  of  prominent  men.  This  gave  a  new 
impulse  to  the  art  of  portraiture.  Our  collection  contains 
two  fme  examples.  One  is  a  portrait  statue  of  a  seated  man 
No.  <j4       wrapped  in  a  large  himation  or  mantle  (No.  54;  fig.  147). 

The  head,  which  was  worked  in  a  separate  piece  and  in- 
serted, is  missing;  but  the  costume  and  the  general  treat- 
ment of  the  figure  clearly  show  that  a  special  individual 
rather  than  a  divinity  or  hero  is  represented.  As  a  study 
in  drapery  this  is  one  of  the  best  examples  of  Hellenistic 
art  which  has  been  preserved.  The  lifelike  rendering  of 
the  heavy  material  of  the  mantle  and  the  artistic  effect  of 

iBy  John  Marshall. 


GREEK    AND     ROMAN     SCULPTURES     2  39 

its  simple,  sweeping  folds  give  the  statue  an  animation  and 
distinction  which  is  quite  wonderful,  considering  its  frag- 
mentary state.  In  general  type  it  may  be  compared  with 
the  famous  portraits  of  "  Menander,"  "  Poseidippos,'' 
"Aristippos,''  and  "Anakreon"  in  Rome  and  Copenhagen 


FIG.   146.     PORTRAIT  OF  EPICURUS 
342-270  B.C. 


(see  Casts  Nos.  892,  893,  894,  891).  On  the  front  of  the 
seat  near  the  left  foot  is  engraved  the  signature  of  the 
sculptor,  Z EYE  1^  ETTOH^ EN,  "Zeuxis  made  it."  Nothing 
further  is  known  of  this  artist.  The  statue  was  found  dur- 
ing excavations  in  the  Villa  Patrizi,  Rome,  in  1903. 

The  other  marble  portrait  in  our  collection  is  a  head  of 
Epicurus,  the  founder  of  the  Epicurean  philosophy  (No.  No.  u 


240 


CENTRAL  HALL 


II,  East  Wall;  fig.  146).  It  is  probably  the  best  of  the 
numerous  portraits  that  have  been  preserved. ^  As  in  most 
of  the  other  heads,  he  is  shown  in  advanced  age  and  bears 
signs  of  the  long  physical  suffering  which  we  are  told  he 
underwent  in  later  life.  But  most  conspicuous  is  the 
nobility  of  the  face,  which,  though  individualized  to  repre- 


the  peace  of  mind  which  is  attained  by  complete  independ- 
ence of  physical  conditions — not  the  sensualism  practised 
by  his  later  followers. 

Several  pieces  in  our  collection  show  close  connection 
with  the  older  traditions  of  Greek  art,  though  here  also  a 
new  spirit  actuates  the  sculptor.  A  good  illustration  of 
this  is  a  fragmentary  statue  of  Aphrodite,  represented  as 
crouching  in  the  bath  (No.  53;  fig.  148).    There  is  no  trace 

^For  these  see  Bernoulli,  Griechische  Ikonographie,  II,  pp.  122  ff. 


sent  the  features  of  a 
certain  person,  could 
serve  to  typify  a 
man  of  thought  and 
intellect. 


FIG.  147.  FRAGMENT 
OF  A   PORTRAIT  STATUE 


Epicurus  was  born 
in  342  B.C.  and  died 
in  270  B.C.  It  is 
probable  that  this 
portrait  was  worked 
during  his  lifetime, 
that  is,  in  the  early 
third  century  B.C. 
The  philosophy  of 
Epicurus  was  found- 
ed on  the  belief  that 
happiness  is  the  chief 
end  of  man;  but  by 
happiness  he  meant 


GREEK    AND    ROMAN     SCULPTURES     24 1 

here  of  the  former  conception  of  divinities;  Aphrodite  is 
merely  a  beautiful  woman  in  an  attitude  calculated  to 
show  the  human  body  in  a  graceful  posture.  Our  statue 
is  not  an  original  work  of  the  Hellenistic  epoch,  but  a  copy 
executed  in  Roman  times.  The  original,  now  lost,  has  with 
considerable  proba- 
bility been  identified 
with  a  work  which 
in  Imperial  times 
adorned  the  temple  of 
Jupiter  in  the  portico 
of  Octavia,  and  which 
was  executed  by  Doi- 
dalsas,  a  Bithynian 
of  the  third  century 
B.C.  At  all  events, 
the  statue  from  which 
ours  was  copied  must 
have  been  a  famous 
work,  for  there  are  a 
large  number  of  re- 
productions and  vari- 
ations of  this  subject.!  CROUCHING  APHRODITE 
A  comparison  between  roman  copy  of  a  hi  century  statue 
the  various  replicas 

will  show  that  there  was  considerable  difference  in  the 
treatment  of  the  subject.  The  famous  copy  in  the  Louvre, 
found  at  Vienne,  France  (see  Museum  Cast  No.  816), 
differs  from  ours  not  only  in  proportions,  but  also  in 
the  modeling.  The  flesh  is  represented  there  as  soft  and 
flabby,  with  thick  folds  round  the  waist  formed  by  the 
stooping  position,  while  the  flesh  in  our  statue  is  firm  and 
strong. 

^See  Klein,  Praxiteles,  pp.  270-272. 


242  CENTRAL  HALL 

A  goat,  lying  on  a  slab  with  its  legs  tied  together,  is  a 
^o.  49       naturalistic  piece  of  work,  probably  of  this  period  (No.  49, 
West  Wall).    Goats  were  used  a  great  deal  for  sacrificial 
purposes,  so  that  it  is  probable  that  we  have  here  a  votive 
offering  to  some  deity. 

ROMAN  IMPERIAL  PERIOD 

In  the  following  description  of  our  Roman  sculptures, 
only  those  are  included  which  are  independent  products 
of  Roman  art;  that  is,  works  in  which  the  artist,  though 
often  strongly  influenced  by  Greek  art,  did  not  copy 
directly  from  Greek  models.  Those  pieces  which  are  faith- 
ful copies  of  Greek  originals  have  already  been  described 
within  the  periods  to  which  the  originals  belong. 
Portraits  Unlike  other  branches  of  Roman  art,  portraiture  was  the 
natural  expression  of  the  Roman  genius,  and  though  in- 
fluenced occasionally  by  Greek  models,  it  remained  essen- 
tially independent  and  passed  through  several  stages  of 
development.  For  a  classification  of  Roman  portraits  on 
chronological  lines  we  have  valuable  data  at  our  disposal. 
We  can  determine  their  stylistic  development  by  a  com- 
parison between  them  and  the  representations  of  Roman 
emperors  on  coins.  The  shape  of  busts  passed  through 
various  stages,  starting  small  and  becoming  larger  as  time 
progressed,  so  that  for  portraits  in  which  the  bust  form  is 
preserved  a  convenient  method  for  assigning  dates  is  at 
hand.  Moreover,  the  fashion  for  men  of  wearing  beards 
and  for  women  of  dressing  their  hair  varied  from  time  to 
time,  a  fact  which  supplies  further  useful  external  evi- 
dence. 

Our  collection  of  Roman  portraits  includes  examples  of 
most  of  the  important  periods,  so  that  it  presents  a  good 
picture  of  the  evolution  of  that  art. 


GREEK    AND    ROMAN     SCULPTURES  243 

Republican  Period  (till  31  b.c.) 

During  the  Republican  era  the  influences  which  worked 
most  strongly  on  the  Roman  portraitist  all  acted  in  the 


FIG.   149.     ROMAN  PORTRAIT 
REPUBLICAN  PERIOD 


direction  of  realistic  representation.  He  had  before  him 
the  example  of  the  Etruscan  terracotta  heads,  which, 
though  inferior  in  style,  were  often  of  very  lifelike  appear- 
ance.   He  was  familiar  with  the  wax  images  set  up  by 


244  CENTRAL  HALL 

distinguished  families  in  their  houses,  images  which  appear 
to  have  been  moulded  over  the  face  after  death  and  must 
therefore  have  been  necessarily  realistic.  But  perhaps  most 
important  of  all  was  the  influence  of  contemporary  ideals. 
From  all  we  know  of  the  Romans  of  the  Republic,  they 
seem  to  have  been  simple,  stern  people,  without  much  imag- 
ination, so  that  temperamentally  a  realistic  portrait  must 
have  appealed  to  them  much  more  powerfully  than  one 
with  idealizing  tendencies.  It  is  natural,  therefore,  that 
at  the  start  Roman  portraiture  was  essentially  realistic. 

The  style  of  the  Republican  period  is  splendidly  illus- 
trated in  our  collection  in  the  portrait  of  a  man  of  the 

No.  31       typical  old  Roman  school  (No.  31,  East  Wall;  fig.  149). 

He  is  represented  as  a  person  of  strong  will  and  personality, 
a  strict  disciplinarian,  who  spent  his  life,  we  may  surmise, 
dealing  successfully  with  practical  affairs,  but  with  whom 
idealism  played  no  prominent  part — the  type  of  Roman,  in 
short,  to  whose  energy  and  character  Rome  owed  her  great- 
ness. The  artist  has  admirably  succeeded  in  bringing  out 
the  strong  personality  of  the  man  as  well  as  presenting  a 
lifelike  portrait  in  which  every  detail  is  minutely  rendered. 
We  could  have  no  better  example  of  the  forceful  realism  of 
Republican  portraitists.  It  should  be  noticed  that  the  hair 
is  represented  as  a  slightly  raised  and  rasped  surface,  prob- 
ably to  be  completed  by  paint.  Though  the  lower  part  of 
the  bust  is  broken,  enough  remains  to  show  that  it  was 
small,  including  only  the  collar-bone  and  the  parts  immedi- 
ately surrounding  it,  which  is  the  form  prevalent  during 
the  late  Republican  and  early  Imperial  times. 

A  fine  basalt  head  of  a  man,  apparently  broken  from  a 
statue,  may  be  assigned  to  the  end  of  the  Republican  era 

No.  56  (No.  56).  He  is  represented  as  a  man  full  of  energy  and 
force  and  of  a  rather  somber  temperament.  The  delicate 
modeling  of  the  lower  part  of  the  face,  with  its  masterly 


FIG.    150.     BRONZE  PORTRAIT 
OF  A  ROMAN  BOY 
END  OF  I  CENTURY  B.C. 


246  CENTRAL  HALL 

treatment  of  fleshy  surfaces,  is  particularly  noteworthy, 
especially  if  we  consider  the  difficulty  of  working  so  hard 
a  stone  as  basalt. 

A  tomb  relief  with  two  portrait  busts  (in  the  Ninth 
Room;  see  p.  189)  probably  also  belongs  to  the  Republican 
era.  The  busts  represent  an  old  man  with  sunken  cheeks, 
and  a  young  girl,  probably  father  and  daughter.  They 
show  character  and  are  worked  with  a  pleasing  directness, 
but  the  workmanship  is  not  that  of  a  master. 

Augustan  and  Julio-Claudian  Periods  (31  b.c.-68a.d.) 

In  the  Augustan  period  a  new  influence  made  itself  felt 
in  Roman  portraiture,  namely,  what  we  know  as  the  "clas- 
sic" spirit  of  Greek  art,  which  affected  every  branch  of 
Roman  sculpture.  It  is  apparent  not  only  in  the  general- 
ized types,  but  also  in  the  fine  distinction  and  aristocratic 
bearing  which  characterize  the  best  portraits  of  this  epoch. 

The  most  important  example  in  our  collection  is  the 
No.  57  bronze  statue  of  a  boy  (No.  57;  fig.  150).  The  great  rarity 
of  bronze  statues  that  have  survived  either  from  Greek  or 
Roman  times,  and  the  high  quality  and  beautiful  preserva- 
tion of  this  specimen  combine  to  make  it  a  piece  of  first- 
rate  importance.  The  sculptor's  artistic  sense  is  shown 
both  in  the  conception  of  the  whole  and  in  many  delicate 
touches.  The  pose,  with  the  little  tilt  of  the  head  and  the 
slight  curve  of  the  figure,  is  very  graceful;  and  the  boyish 
face  has  a  sensitiveness  and  a  charm  rarely  equaled  in 
ancient  sculpture.  The  nude  portions  of  the  body,  espe- 
cially the  back  and  the  shoulders,  are  beautifully  modeled, 
with  appreciation  of  the  delicate  forms  of  a  young  boy. 
Moreover,  the  drapery  is  rendered  with  unusual  skill ;  it  is 
rich  and  varied,  and  still  essentially  simple  in  its  lines. 

The  identity  of  this  statue  cannot  yet  be  determined 
with  certainty.    The  head  shows  the  characteristic  traits 


GREEK    AND    ROMAN     SCULPTURES  247 

of  the  Julio-Claudian  family;  for  he  has  the  broad  forehead, 
the  flat  skull,  the  protruding  ears,  and  the  general  type  of 
features  continually  found  in  members  of  that  house.  The 


FIG.    151.     PORTRAIT  OF  A   ROMAN  PRINCE 
JULIO-CLAUDIAN  PERIOD 


two  most  likely  princes  are  Caius  and  Lucius  Caesar,  the 
two  grandsons  of  Augustus,  who  were  regarded  as  his 
direct  heirs  and  were  high  in  popular  favor.  The  thor- 
oughly Greek  conception  of  the  statue  shows  that  the 


248  CENTRAL  HALL 

artist  was  probably  a  Greek  who  tried  to  keep  alive  the 
great  traditions  of  earHer  Greek  sculpture. 

A  bust  of  a  young  man  is  another  unusually  good  work 
of  this  period,  executed  in  a  beautiful  piece  of  marble  (No. 
55;  fig.  151).  He  is  shown  as  a  youth  of  fine  bearing  and 
keen  intellect,  with  the  type  of  features  characteristic  of 
the  Julio-Claudian  house.  We  could  have  no  better  rep- 
resentation of  a  young  Roman  aristocrat.  The  identity  is 
again  uncertain;  both  Tiberius  and  Caligula  have  been 
suggested  as  possibilities. 

Two  heads  are  portraits  of  Augustus  (Nos.  48  and  50, 
West  Wall),  being  easily  recognizable  by  the  high,  square 
forehead,  the  rounded,  prominent  chin,  and  the  well-known 
arrangement  of  the  strands  of  hair  over  the  forehead,  which 
recurs  regularly  on  practically  all  identified  portraits  of 
Augustus.  Both  are  good  studies,  giving  a  fine  concep- 
tion of  the  serious,  cold,  but  essentially  noble  character  of 
Rome's  first  emperor. 

The  head  of  a  boy  in  black  basalt  (No.  47,  West  Wall) — 
also  clearly  a  member  of  the  Julio-Claudian  family — shows 
how  successfully  Roman  portraitists  represented  children. 
The  childish  nature  is  well  brought  out  in  the  rounded  con- 
tour of  the  face  and  the  small,  unformed  mouth.  The 
flesh  parts  are  polished  while  the  surface  of  the  hair  is  left 
dull,  the  two  thus  forming  an  effective  contrast. 

The  bust  of  a  young  man  (No.  51,  West  Wall)  is  another 
excellent  work  of  this  period.  It  is  remarkable  both  for 
its  finished  workmanship  and  for  its  excellent  preservation. 

Flavian  Period  (69-96  a.d.) 

The  realism  inherent  in  the  Roman  temperament  was 
too  strong  to  be  more  than  temporarily  swamped  by  the 
introduction  of  Greek  idealism.  It  was  not  long  before 
the  Roman  spirit  began  to  reassert  itself.    Thus,  the  por- 


GREEK    AND    ROMAN     SCULPTURES  249 


traits  of  the  Flavian  period  show  a  successful  combination 
of  the  two  tendencies  of  realism  and  idealism.  The  style 
is  more  individualized  than  in  the  Augustan  period,  and 
smoother  and  less  hard  than  in  the  Republican  epoch.  Our 
collection  includes  several  good  examples.  One  represents 
a  rather  homely  man  in  middle  age,  with  a  round,  some- 
what fleshy  face,  and  a   

kindly,  genial  expression 
(No.  32,  East  Wall).  An- 
other is  a  middle-aged 
man,  worked  in  a  marble 
of  a  rich  yellow  tone  (No. 
34,  East  Wall;  fig.  152); 
while  a  third  represents 
an  old  man  with  upper  lip 
drawn,  as  if  from  wearing 
false  teeth  (No.  35,  East 
Wall).  The  characteriza- 
tion in  these  heads  is 
simple,  yet  subtle.  In 
each  case  the  sculptor  has 
grasped  the  personality  of 
his  sitter  with  keen  under- 
standing and  has  repro- 
duced it  in  a  straightfor- 
ward manner,  without  paying  regard  to  small,  irrelevant 
details  or  striving  for  dramatic  effect.  The  result  in  each 
case  is  a  lifelike  portrait  and  a  fine  work  of  art.  The  bust 
form  during  the  period  is  slightly  larger  than  in  the  preced- 
ing, including  the  edges  of  the  shoulders  and  of  the  breast. 


FIG. 


152.    ROMAN  PORTRAIT  BUST 
FLAVIAN  PERIOD 


No.  52 


No.  34 


No.  i5 


Trajanic  Period  (98-117  a.d.) 

In  the  Trajanic  period  the  style  is  still  lifelike,  but  less 
spirited  than  in  the  Flavian  portraits.    The  bust  form  is 


2  50  CENTRAL  HALL 

slightly  larger,  giving  the  whole  outline  of  the  shoulder  and 
including  the  armpit.  This  period  is  represented  in  our 
No.  4^  collection  by  a  fine  portrait  of  a  woman  (No.  45,  West 
Wall;  fig.  1 53),  similar  in  type  to  those  generally  identified 
with  Plotina,  the  wife  of  Trajan.  She  has  a  sensitive, 
rather  sad  face,  and  evidently  wore  the  high  coiffure  which 
became  prevalent  in  the  preceding  period  and  lingered  on 
during  Trajan's  reign.  In  this  extravagant  fashion  the 
hair  was  worn  in  a  diadem  of  curls  in  front,  and  plaited 
and  coiled  in  a  knot  at  the  back.  In  our  example  the  front 
piece  was  added  separately,  and  is  now  missing,  only  the 
iron  dowels  for  its  attachment  being  preserved. 

Hadrianic  Epoch  (117-138  a.d.) 

All  the  emperors  from  Republican  times  to  the  reign  of 
Hadrian  had  been  clean  shaven.  Hadrian  started  the 
fashion  of  wearing  a  beard,  and  this  was  continued  to  the 
time  of  Diocletian,  with  the  exception  only  of  Valerian. 
Court  circles  evidently  followed  the  imperial  example  and 
most  of  the  portraits  are  now  bearded.  In  the  style  a 
Greek  element  is  apparent  in  the  less  individualized  types, 
due  probably  to  Hadrian's  patronage  of  Greek  art.  The 
bust  form  is  again  enlarged,  and  now  includes  a  small  piece 
of  the  upper  arm. 
No.  j7  A  colossal  porphyry  head  (No.  37,  East  Wall),  probably 

of  a  Roman  general,  may  be  assigned  to  this  period.  It 
is  a  remarkable  piece  of  work,  especially  if  we  consider  the 
hard,  brittle  nature  of  the  stone.  The  use  of  porphyry  in 
plastic  works,  though  known  in  early  Imperial  times,  did 
not  find  favor  until  about  this  epoch;  it  may  readily  be 
admitted  that  it  does  not  lend  itself  to  sculptural  work 
nearly  so  well  as  white  marble. 

An  interesting  monument  of  the  Hadrianic  period  is  a 
cippus,  or  sepulchral  monument,  with  three  portrait  busts 


GREEK    AND     ROMAN     SCULPTURES  2^1 

worked  in  relief  and  placed  in  niches  (No.  43,  West  Wall).  No. 
They  represent  a  woman  of  matronly  aspect  between  two 
men,  evidently  a  mother  and  her  two  sons,  commemorated 


FIG.    153.     PORTRAIT  OF  A  WOMAN 
TRAJANIC  PERIOD 


in  a  family  monument.    The  woman  is  wearing  her  hair 
in  a  new  fashion,  plaited  and  coiled  on  top  of  her  head.  A 
male  bust,  wearing  a  sword-strap  and  a  cloak  on  the 
shoulder  (No.  44,  West  Wall),  is  another  good  example  of  No. 
Hadrianic  portraiture. 


252 


CENTRAL 


HALL 


Antonine  and  Aurelian  Periods  (138-180  a.d.) 

In  the  heads  of  the  Antonine  and  subsequent  periods 
important  technical  changes  became  general.  A  certain 
pictorial  element  was  introduced  by  rendering  the  hair 
in  loose,  flowing  locks,  worked  with  the  drill  so  as 
to  create  shadows.  The  surface  of  the  face  was  care- 
fully smoothed  and  often  highly  polished,  whereby  its 


pression,  but  it  lent  the  whole  portrait  a  certain  psycho- 
logical quality. 

The  new  style  is  splendidly  illustrated  in  a  head  of 


No.  jS       Lucius  Verus,  broken  from  a  relief  (No.  38,  East  Wall; 


fig.  1 54).  It  is  a  typical  portrait  of  the  handsome  but  self- 
indulgent  successor  of  Hadrian  and  co-ruler  with  Marcus 
Aurelius.    The  bust  of  a  middle-aged  woman  of  somewhat 


No.  39       bourgeois  countenance  (No.  39,  East  Wall)  shows  the  style 


in  female  hair-dressing  prevalent  in  the  reign  of  Marcus 
Aurelius  and  adopted  by  Faustina,  the  wife  of  that  em- 
peror. The  hair  is  parted  in  the  middle,  waved  to  the 
sides,  and  fastened  in  a  knot  behind.    This  bust  shows 


m 

'hi 


FIG.    I  54.     LUCIUS  VERUS 
161-169  A.D. 


whiteness  contrasted  viv- 
idly with  the  texture  of 
the  hair  and  beard.  The 
result  of  rather  striking 
naturalness  was  height- 
ened by  the  treatment  of 
the  eye  —  begun  in  the 
Hadrianic  period  —  in 
which  the  outline  of  the 
iris  was  incised  in  the 
shape  of  a  segment  of  a 
circle  and  the  pupil  indi- 
cated by  two  drill  holes. 
This  not  only  increased 
the  animation  of  the  ex- 


GREEK    AND     ROMAN     SCULPTURES  253 

the  enlarged  form  now  adopted,  in  which  most  of  the  upper 
arm  was  included. 

First  Half  of  Third  Century 

The  third  century  is  by  no  means  a  time  of  decadence 
in  Roman  portraiture,  as  it  is  in  many  other  branches  of 
Roman  art.  A  fine  series 
of  realistic  portraits  can 
be  assigned  to  this  period. 
The  technical  innovations 
introduced  in  the  preced- 
ing century  are  retained, 
except  that  the  hair  is 
treated  diflferently.  Until 
the  time  of  the  emperor 
Gallienus,  253  B.C.,  it  is 
represented  as  very  short 
and  curly,  and  rendered 
by  scratches  over  a  rough- 
ened surface.    The  most 

,     .  FIG.    155.     ROMAN  PORTRAIT 

important  example  in  our  century  a.d.(?) 

collection   is  the  large 

bronze  statue  in  the  Fifth  Avenue  Hall,  representing 
probably  the  emperor  Caius  Vibius  Trebonianus  Callus 
(251-254  A.D.).  The  attitude  and  the  whole  bearing 
suggest  that  he  is  delivering  a  speech.  The  face  is  a  fine 
portrait  study;  it  shows  a  man  of  somewhat  unattractive 
personality,  and  of  a  coarse,  wilful  nature,  which  is  what 
we  should  expect  from  our  knowledge  of  this  emperor,  who 
was  murdered  by  his  own  soldiers.  A  marble  head  of  an 
old  man,  under  life  size  (No.  42,  West  Wall),  is  another  No.  42 
good  example  of  this  period. 


254  central  hall 

Gallienic  Period  (253-268  a.d.) 

In  the  Gallienic  period  the  hair  was  worn  fairly  long,  and 
it  is  treated  in  the  portrait  busts  in  a  broad,  sweeping 
manner,  which  greatly  adds  to  the  naturalistic  effect.  A 
head  of  a  young  man  (No.  41,  West  Wall)  is  an  excellent 

example  of  this  period. 
The  bust  of  a  man 
with  dreamy  eyes  and 
drooping  mouth  and 
chin  (No.  40,  East 
Wall;  fig.  155)  also 
probably  belongs  here. 
It  is  interesting  to 
compare  this  rather  ef- 
feminate Roman  gen- 
tleman with  the  Re- 
publican bust  No.  31 
(see  p.  244)  to  see  what 
a  difference  two  or 
three  centuries  had 
wrought  in  the  Roman 
character. 

Portraits  of  the  late 

FIG.    156.      HERAKLES  AND  THE  ^^-^^ 

ERYMANTHIAN   BOAR,  ARCHAISTIC 

the  period  of  Constan- 
tine  are  comparatively  rare;  no  examples  are  yet  included 
in  our  collection. 

In  the  field  of  idealistic  sculpture  Roman  art  was  frankly 
imitative.  We  have  already  described  those  pieces  in  our 
collection  in  which  the  Roman  artist  copied  directly  from 
Greek  models.  In  a  large  number  of  cases  the  works  are 
not  direct  copies,  but  adaptations.  Such  is  probably  the 
case  in  the  majority  of  the  statues  and  busts  formerly  in 
the  possession  of  the  Giustiniani  family  and  presented  to 


GREEK    AND    ROMAN     SCULPTURES  255 


the  Museum  by  Mrs.  Frederick  F. 
Thompson  in  1903.^  They  were  ex- 
tensively restored  in  the  seventeenth 
century,  so  that  they  now  reflect 
the  taste  of  that  period  as  much 
as  that  of  Roman  times.  They  are, 
in  fact,  excellent  examples  of  the 
type  of  statue  which  served  to  dec- 
orate the  famous  old  Italian  palaces 
and  villas.  Since  their  chief  value 
lies  in  their  decorative  quality,  they 
are  exhibited  in  appropriate  places 
in  various  parts  of  the  Museum. 
The  majority  will  be  found  at  the 
south  end  of  the  Fifth  Avenue  Hall. 

Two  pieces  in  our  collection  are 
examples  of  "archaistic''  work,  in 
which  the  sculptor  affected  the 
Greek  archaic  style.  One  is  a  re- 
lief of  Herakles  carrying  the  Ery- 
manthian  boar  (No.  33,  East  Wall; 
fig.  156).  As  is  natural  when  an 
artist  of  a  late,  sophisticated  age 
tries  to  express  the  limitations  and 
vigor  of  early  art,  he  was  inconsis- 
tent and  introduced  elements  of 
later  periods.  Thus,  the  head  of 
Herakles  is  treated  in  the  genuine 
archaic  manner,  and  something  of 
true  archaic  sturdiness  is  shown  in 
the  modeling  of  the  right  shoulder 
and  arm.  The  rendering  of  the 
body  and  legs,  however,  shows  the 

^For  a  fourth-century  Greek  statue  of  that 


FIG.    157.  ROMAN 
PILASTER 
I  CENTURY  A.D. 


collection  see  p.  225. 


256  CENTRAL  HALL 

facile  but  academic  skill  of  a  later  age,  when  human  anat- 
omy was  no  longer  an  object  of  absorbing  study,  but  could 
be  represented  correctly  even  by  minor  artists.  The  de- 
vice of  making  the  hind  part  of  the  animal  disappear,  so 
to  speak,  into  the  relief,  as  well  as  the  rendering  of  the 
tree  stump,  are  foreign  to  early  art. 

The  other  archaistic  piece  is  the  head  of  Athena,  placed 
in  the  Eighth  Room  and  described  on  p.  188. 

Several  examples  of  decorative  work  show  the  conspicu- 
ous results  obtained  by  the  Romans  in  that  branch  of  art. 


FIG.  158.  ROMAN  SARCOPHAGUS 
CONTEST  OF  MUSES  AND  SIRENS 


The  finest  piece  in  our  collection  is  a  table  support  termi- 
No.  3S       nating  at  each  end  in  a  winged  monster  (No.  58;  fig.  159). 

It  is  ornamented  on  both  sides  with  designs  consisting  of 
branches  of  akanthos  emerging  from  a  bed  of  akanthos 
leaves,  and  decorated  intermittently  with  clusters  of  grapes 
and  various  flowers  and  buds.  Though  the  design  is 
strictly  conventionalized,  the  details  are  rendered  with 
great  truth  to  nature.  The  other  decorative  pieces  in  our 
collection  are  shown  in  the  Vestibule,  D  11.  One  is  a 
pilaster  with  a  design  consisting  of  a  cluster  of  akanthos 
leaves  at  the  base,  from  which  rise  foliated  scrolls  (fig. 
157);  besides  the  main  scrolls,  separate  little  tendrils  and 
flowers  issue  at  various  points,  while  birds,  a  lizard,  and 
an  Eros  are  introduced  in  the  background.    The  style  of 


Decora- 
tive 
Work 


GREEK     AND     ROMAN     SCULPTURES  257 

the  relief  is  closely  allied  to  that  of  the  decorative  pieces 
from  the  Ara  Pacis  of  Augustus;  but  the  execution  is  not 
so  delicate  or  crisp  as  in  that  famous  monument.  Several 
pieces  from  the  Forum  of  Trajan  are  specimens  of  Roman 
architectural  decoration  at  a  rather  later  period. 

During  the  Roman  Imperial  period,  especially  in  the  Sarcoph- 
second  and  third  centuries,  the  use  of  sarcophagi  for  burial 


purposes  became  exceedingly  popular.  They  are,  in  fact, 
the  Roman  counterpart  to  the  Greek  grave  reliefs.  The 
majority  are  elaborately  decorated  on  their  fronts  and  sides 
with  relief  decoration,  the  subjects  being  preferably  taken 
from  Greek  mythology.  Our  collection  includes  three  ex- 
cellent examples,  of  which  two  are  placed  in  the  Central 
Hall,  Nos.  36  and  46,  and  one  in  the  vestibule  leading  to 
the  hall,  D  1 1 .  The  most  important  from  an  artistic  point 
of  view  is  No.  46,  decorated  with  a  relief  representing  the  yvo.  46 
musical  contest  between  the  Sirens  and  the  Muses  (fig. 
1 58).  Two  episodes  from  the  fable  are  depicted.  On  the 
left  the  contest  is  in  progress,  the  three  Sirens  performing, 
with  Zeus,  Hera,  and  Athena  acting  as  judges.    One  Siren 


FIG.  159.  TABLE  SUPPORT 
ROMAN,  AUGUSTAN  PERIOD 


258  CENTRAL  HALL 

is  playing  the  double  pipes,  another  is  singing,  while  a  third 
is  playing  on  the  lyre.  On  the  right  side  of  the  picture  the 
triumphant  Muses  are  falling  on  the  defeated  Sirens  and 
tearing  the  feathers  from  their  wings.  This  sarcophagus 
is  not  a  recent  discovery,  but  has  been  known  for  several 
centuries.  While  in  possession  of  one  of  its  later  owners 
it  was  evidently  used  as  a  chest  and  supplied  with  the 
family  arms,  a  hound  rampant. 
No.  s6  The  subjects  on  No.  36  consist  of  Erotes  holding  up 

garlands  and  driving  in  chariots,  and  three  scenes  from  the 
story  of  Theseus  and  Ariadne.  The  composition  is  not  so 
crowded  as  is  often  the  case  in  these  monuments. 

The  sarcophagus  in  the  Vestibule,  decorated  with  Erotes 
and  animals,  is  considerably  larger  than  the  two  other 
examples.  It  was  found  at  Tarsus,  and  given  to  the 
Museum  in  1870. 

Besides  the  architectural  ornaments  described  above  (p. 
256)  this  vestibule  contains  miscellaneous  sculptures, 
chiefly  marble  heads  of  Roman  workmanship,  both  por- 
traits and  copies  of  Greek  works.  Among  the  latter  are 
the  head  of  a  youth,  evidently  a  copy  of  a  work  by  Poly- 
kleitos;  for  it  has  all  the  chief  characteristics  of  his  very 
individual  style — the  long  angular  skull  on  which  the  hair 
is  laid  flat  and  arranged  in  locks  curling  at  the  ends,  the 
narrow  brow,  oval  face,  and  heavy  eyelids.  Another  head 
of  a  youth,  with  long  curly  hair,  wearing  a  fillet,  is  also  of 
fifth-century  style,  as  seen  both  by  the  treatment  of  the 
hair  and  by  the  rendering  of  the  eyes.  The  head  and  part 
of  the  back  of  a  Satyr  is  of  the  same  type  as  the  famous 
"Dresden  Satyr"  in  the  Albertinum,  which  is  generally 
supposed  to  be  a  copy  of  a  work  by  Praxiteles.  The  large 
female  head,  intended  to  be  inserted  in  a  statue,  is  prob- 
ably a  work  of  the  third  century  B.C.,  reproducing  a 
fourth-century  type.    Six  painted  stelai,  placed  in  a  case 


GREEK    AND     ROMAN     SCULPTURES  259 

on  the  east  wall,  are  objects  of  special  interest.  They 
were  found  at  Hadra,  near  Alexandria,  in  the  same  ceme- 
tery as  the  ''Hadra''  vases  in  Room  VII  (see  p.  169);  and 
like  them  can  be  dated  to  the  third  century  A.D.  The 
inscriptions  show  that  they  were  erected  over  graves  of 
Galatians. 


ADDENDA 


BIBLIOGRAPHY 

Under  Lexicons 

Smith,  W.  A  Dictionary  of  Greek  and  Roman  Biog- 
raphy and  Mythology,  I-1 1 1.    London,  1880. 

A  Dictionary  of  Greek  and  Roman  Geogra- 
phy, I-II.    London,  1873- 1878. 

Under  General 

Fowler,  H.  N.,  and  Wheeler,  J.  R.    A  Handbook 

of  Greek  Archaeology.    New  York,  1909. 
Loewy,  E.    The  Rendering  of  Nature  in  Early  Greek 
Art,  translated  by  J.  Fothergill.    London,  1907. 

Under  Architecture 

Benoit,  F.  L' Architecture,  I.  Antiquite.  Paris, 
191 1 . 

Koldewey,  R.,  and  Puchstein,  O.  Die  griechischen 
Tempel  in  Unteritalien  und  Sicilien,  I-II. 
Berlin,  1899. 

Under  Sculpture 

Delbriick,  R.    Antike  Portrats.    Bonn,  191 2. 

Lange,  J.  H.  Darstellung  des  Menschen  in  der 
alteren  griechischen  Kunst,  translated  from  the 
Danish  by  M.  Mann.    Strassburg,  1899. 

Reinach,  S.    Recueil  de  tetes  antiques.    Paris,  1903. 


ADDENDA     AND  CORRIGENDA 


Under  Catalogues 
A.  Museums 

Egypt 
Cairo 

Edgar,  C.  C.  Catalogues  of  the  Greek 
B  ronzes,  Greek  Vases,  Greek  Moulds, 
and  Graeco-Egyptian  Glass  in  the 
Cairo  Museum.  Cairo,  1903-1911. 

Greece 
Athens 

Svoronos,  J.N.  Das  athener  National- 
museum.  German  edition  by  W. 
Barth,  I.    Athens,  1908. 

Turkey 

Constantinople 

Mendel,  G.  Catalogue  des  sculptures; 
grecques,  romaines  et  byzantines 
aux  Musees  Imperiaux-Ottomans, I. 
Constantinople,  19 12. 

CORRIGENDA 

p.  xxi,  line  27.    Read  Second  German  edition.  Leipzig, 
1908. 

p.  xxii,  line  5.    Read  Tenth  edition.    Leipzig,  191 5. 
p.  xxiii,  line  29.    Read  Third  edition.    Leipzig,  191  o. 
p.  xxiv,  line  30.    Omit  "  Greek.'' 
p.  XXV,  line  8.    Add  English  edition.    London,  191 2. 
p.  10,  line  21.    For  "restricted  to"  read  "popular  in." 
p.  10,  line  23.    For  "only"  read  "mostly." 
p.  198,  line  24.    For  "  B.  C."  read  "A.  D." 
p.  222,  footnote.    For  "tan"  read  ''tau." 


INDEX 


A 

ACHAEANS,  32 

Achilles,  on  engraved  gems,  173; 
on  vases,  79;  Achilles(?),  on 
vases,  104 

Actor,  bronze  statuette,  162 

Actors,  comic,  attributes  identi- 
fying, 144;  terracotta  statu- 
ettes of:  Asiatic,  165;  from 
tomb  in  Greece,  143-144 

Admetos  and  Alkestis,  on  mirror, 
138 

Adonis  (?),  statue,  216 
Africa,  Northern,  as  ceramic  cen- 
ter, 147 

Agate  Scarab,  engraved  gem,  1 10 
Agrippa  (?),  portrait  head,  186 
AjAX,  carrying  dead  Achilles,  en- 
^  graved  gem,  173 
A  jour  Relief,  on  bronzes,  118, 
140 

Akanthos  Leaves,  bronze  jug, 
140;  on  marble  akroterion,  223 ; 
in  Roman  decorative  work,  256 

Akarnania,  bronze  mirror  from, 
94 

Akropolis  Maidens,  statues  in 

style  of,  208 
Akroterion,  223 

Alabaster,  in  Minoan  stonework, 
30 

Alabastron,  49,  75 

Alexander  the  Great,  conquests 

of,  133,  154 
Alexandria,  Greek  burial  vases 

from,  169 
Amazons,  on  vases,  79,  123 
Amber,  in  gold  inlay,  necklace,  85; 

in  relief,  72 


Amphora,  Apulian,  149,  150; 
archaic  Greek,  77,  78,  80,  81, 
82;  fifth  century  B.C.,  100, 
104,  105-106,  122,  126,  128; 
geometric,  40-42,  43 ;  Pana- 
thenaic,  80;  Proto-Attic,  50, 
53;  Roman,  192,  199;  silver, 
from  tomb  group,  142;  South 
Italian,  148,  149,  150;  stone, 
from  Knossos,  30 

Amulets,  engraved  gems  as,  194 

"Anakreon,"  type  of  portrait 
statue,  239 

Ancona,  Roman  couches  found  at, 
196 

Animals,  as  decoration:  from 
Oriental  art,  55,  56;  decline  of 
use  in  pottery,  74;  on  engraved 
gems:  archaic  period,  84,  131, 
151,  173,  193;  on  Hadra  vases, 
170;  in  sculpture:  Greek,  28, 
218;  Roman,  186;  terracotta 
statuettes,  71;  vases  in  form 
of,  103 

Ante  FIX,  terracotta,  166,  167 

Anthemion,  140,  223 

Antiocheia,  bronze  statuette,  162 

Antonine  and  Aurelian  Periods, 
138-180  A.D.,  252 

Aphrodite,  on  bronze  mirrors, 
137,  138,  163;  bronze  statuette, 
160;  engraving  of:  on  gem, 
172;  on  gold  ring,  153;  mar- 
ble statue  of,  226,  240-241; 
statue  of,  in  temple  of  Jupiter 
in  Imperial  times,  241;  terra- 
cotta statuettes,  166;  in  vase- 
painting,  1 10,  149;  Aphro- 
dite(?),  on  bronze  mirror,  116; 
mirror-stand,  93 


261 


262 


INDEX 


Aphrodite  of  Knidos,  as  type  of 
sculpture,  226 

Apollo,  on  engraved  gem,  172;  on 
vases,  76,  105;  bronze  statu- 
ette, 66 

Apulia,  vases  from,  147,  148,  168 

Apulian  Vases,  characteristics 
and  examples,  148-150 

Arcadian  Peasant,  bronze  statu- 
ette of,  66 

Archaic  Art,  black-figured  tech- 
nique, 64;  characteristics,  60- 
61;  compared  with  art  of  fifth 
century  B.C.,  90;  copied  in 
Italic  engraved  stones,  172; 
figures  familiar  to,  63;  style  of, 
adopted  in  Roman  art,  188, 
189,  255;  traces  of  in  fifth  cen- 
tury B.C.,  91,  92;  treatment: 
of  eye,  204-205;  of  hair,  205- 
206;  disappearance  of,  90 

Archaic  Period,  sixth  century 
B.C.,  civilization  and  art,  59- 
86,  203 

"Archaic  Smile,"  205 

"Archaistic"  Style,  Roman  imi- 
tation of  Greek  archaic  work, 
188,  189;  relief  in,  253 

Architectural  Compositions,  in 
Pompeian  fresco-painting,  180, 
181 

Architectural  Ornaments,  Au- 
gustan epoch,  256;  colossal 
tragic  masks  as,  in  lioman 
times,  198;  from  Epidauros, 
135;  from  Erechtheion,  116; 
relief,  Late  Minoan  II,  29-30 

Areopagus,  original  statue  of 
Eirene,  on  the,  224 

Arez'.o,  ancient  Arretium,  189; 
Arretine  pottery  from,  189 

Argive  Sculptor,  Polykleitos,  216 

Ariadne,  on  bronze  mirror,  137; 
on  gold  diadem,  152;  on  mar- 
ble sarcophagus,  258;  in  vase- 
painting,  81 

Aristippos,  portrait  statue  com- 
pared, 239 

Arretine  Pottery,  period,  prove- 
nance, and  technique,  189-191; 
end  of  manufacture,  second  cen- 
tury B.C.,  198 

Arretium,  189 

Artisans  at  Work,  on  engraved 
gems,  173 


Aryballos,  48-49,  204 
Asia  Minor,  art,  156;  bronze 
statuette  from,  160;  Corinth- 
ian pottery  found  in,  49;  vases 
found  in,  192;  necklace  from, 
174;  spread  of  Greek  art  in,  1 56 
Asiatic  Terracottas,  164 
Assyrian  Art,  borrowed  from,  48 
Athena,  on  bronze  mirrors,  138; 
marble  head,  188,  256;  on 
vases,  50,  53,  76,  78,  80,  103; 
winged,  on  engraved  gem,  131 
Athenian,  pottery,  ascendancy 
and  distribution  in  archaic 
period,  73-74;  potters:  Cyren- 
aic  and  Crimean  vases  made 
by,  147;  progress  of  followed 
by  vases  in  collection,  98; 
gravestones,  203-208,  211-213; 
style,  in  vases  in  Italy,  147, 
148;  vase-painting:  decline, 
127-128;  height  of  develop- 
ment, 120;  vases,  49-50,  53, 
76,  80,  82-83;  archaic  tech- 
nique, 75;  black-figured  style, 
53;  comparison  with  Graeco- 
Italian,  150-151;  supremacy 
of,  96;  in  tomb  with  chariot, 
64 

Athens,  commercial  and  artistic 
growth,  73;  development  of, 
in  fifth  century,  113;  downfall 
of,  132;  effect  of  Peloponnesian 
war  on,  114-115;  geometric 
vases  from,  42;  as  leading 
Greek  state,  87;  official  em- 
blem of  city,  140;  as  second- 
rate  pov/er,  1 1 5 

Athlete,  bronze  statuettes,  91-93, 
120;  characteristics  identify- 
ing, 230;  marble  sculptures, 
134,  216-217,  221,  228-230; 
oil-flask  of,  represented  on 
stele,  204;  scenes  of  on  vases: 
79,  100,  reflecting  Athenian  life, 
80;  use  of  strigil  by,  118 

Atlas  and  Herakles,  on  bronze 
mirror-cover,  1 18 

"Atreus,"  "Treasury  of,"  repro- 
ductions from,  30 

Augustan  and  Iulio-Claudian 
Periods,  31  B.C.-68  A.D.,  por- 
traits from,  246-248 

Augustus,  portrait  heads  identi- 
fied as,  248 


I) 


INDEX 


263 


B 

"Barbotine,"  slip  decoration,  199 
Basalt,  portraits  in,  244-246,  248 
Battle-Scenes,  colored  relief  on 

terracotta  urns,  166 
Beads,  glass,  archaic  technique, 
72;  gold,  from  fourth-century 
grave,  152 
Beard,  wearing  of,  by  Roman  Em- 
perors, 250 
Bell  Krater,  see  Krater 
Bellerophon,  on  bronze  mirror, 
138 

Belt,  armored,  164 

Belvedere  Torso,  in  Vatican, 
compared,  238 

Birds,  in  Roman  decorative  work; 
256,  on  vases,  168 

Black-Figured  Technique,  s3, 
combined  with  red-figured  on 
white  ground,  108;  kylikes,  fix- 
ing date  of  chariot,  64,  140-141 

Black  Glaze,  on  Athenian  vases, 
74;  on  Graeco-I  talian  vases, 
1 50;  figure,  in  red-figured  vase- 
painting,  106;  vases:  Hellen- 
istic, 168,  incised  decorations, 
169,  ornamented  inside,  168, 
painted  decorations,  168,  169, 
in  second  century  B.C.,  168- 
169,  stamped  decoration,  169 

Black  Vases,  of  Apulian  ware,  149 

Blowing-Tube,  invented  first  cen- 
tury B.C.,  171,  196 

BoLSENA,  tomb  group  from,  140- 
142 

Bone,  carvings,  on  Roman  couch, 
196;  used  by  Greek  sculptors, 
201 

Boreas,  carrying  ofi"  Oreithyia, 
terracotta  ornament  to  vase, 
146 

BoscoREALE,  bronze  statue  of 
Eros  from,  182-183;  frescoes 
from,  178-182;  lamp-stand 
from,  182;  marble  table  with 
bronze  fittings  from,  182-183 
Box,  silver,  from  tomb  group,  142 
"Boxer    Vase,"    16-17;  reliefs 

compared,  18 
Boxing  Match,  in  vase  relief,  17 
Boy,  bronze  statue  of,  246-248; 
head  of,  basalt,  248;  marble 
statues  of,  213-214,  214-216, 


226;  terracotta  figures,  144, 
165;  on  vase,  77;  wall  paint- 
ing, 16 

Braziers,  Etruscan,  56 

Bride,  on  vases,  124,  127 

Bronze,  Age:  in  Crete,  6,  type  of 
fibulae  in,  44;  articles,  made 
by  Romans,  198;  busts,  rarity 
of,  186;  in  Greek  sculpture,  20; 
implements  of,  Roman  period, 
198;  methods  of  working,  86; 
patina  covering,  69;  use  of  by 
ancients,  198;  utensils,  beau- 
tifying of,  94;  vase,  type 
copied  in  metallic-glaze  pot- 
tery, 192 

Bronzes,  chronological  arrange- 
ment, X 

Brygos,  vase  maker,  fifth  century 
B.C.,  103 

"BuccHERo"  Ware,  character- 
istics and  technique,  55-56 

Bull,  charging,  wall-painting,  23: 
head:  as  cup,  rhyton,  12,  in 
sculpture,  28;  -hunt,  in  vase- 
relief,  17;  reliefs,  compared,  18; 
in  vase-relief,  17 

Burial  Vases,  from  Pachyam- 
mos,  10 

BusiRis,  in  vase-painting,  106 

Buttons,  of  niello,  on  tunic  of 
bronze  statuette,  161 

C 

Caius  Vibius  Trebonianus  Cal- 
lus, bronze  statue  of,  253 

Calenian  Pottery,  168 

Caligula  (?),  marble  bust  of,  248; 
possible  representation  of,  in 
portrait  bust,  248 

Cameo,  introduction  of  and  origi- 
nal use,  172 

Cameo  Glass,  variety  of  Roman 
glass,  197 

"Camillus,"  a,  character  of,  and 
bronze  statue,  184 

Campania,  characteristics  of  vases 
from,  147,  148,  169 

Candelabrum,  bronze,  and  paint- 
ing representing,  referred  to, 
119,  120;  type  found  at  Pom- 
peii and  Herculaneum,  184 

Cannae,  type  of  helmets  found 
at,  164 


264  I  N 

"Canopic.  "  Jar,  Etruscan  red- 
polished  ware,  54 

Canosa,  vases,  and  statuettes 
found  at,  170 

Capaneus,  on  engraved  gem,  1 10 

Carnelian,  engraved,  110,  130, 
131 

Carthage,  i  54 
Casket,  30 

Cat  Hunting  Pheasant,  fresco 
painting,  14,  i  5 

Cauldron  -  Stands,  red  -  polished 
Etruscan  ware,  54 

Centaur,  bronze  statuettes,  43, 
44,  67;  on  engraved  gem,  131; 
on  vases,  108 

Cervetri,  terracottas  from  Etrus- 
can temple  at,  72 

Cesnola  Collection,  from  Cy- 
prus, ix,  xiv 

Chair  Leg,  bronze,  188 

Chalcedony,  engraved,  1 10;  statu- 
ette of  Nike,  Roman  period, 
195 

Chariot,  Etruscan,  see  Etruscan 
bronze  chariot;  representa- 
tions of,  on  vases,  77,  79,  80, 
169 

Charon's  Boat,  on  vases,  129,  130 
Child,  head  of,  in  marble,  158; 

on  vase,  129,  130 
Children,  graves,  type  of  vase 
found  on,  127;    Greek  sculp- 
ture, 158,  220,  221,  248;  on 
vases,  127 
Cippus,  sepulchral  monument,  250 
Circus,  Minoan,  wall-painting  of, 
22,  23 

CisTA,  bronze,  from  tomb  group, 
142;  Etruscan,  decorative  han- 
dles frorri,  162 

CiviTA  Castellana,  miniature 
bronze  group  from,  187;  vases 
from,  69 

Clay,    baked,    popularity  with 

Etruscan  sculptors,  167 
Cock,  with  boy,  terracotta,  165; 

on  jewelry,  174;  on  vases,  80; 

vase  in  form  of,  171 
Colander,  bronze,  164;  on  vases, 

126 

Color,  on  Greek  and  Roman 
sculpture,  202,  204,  223,  237, 
244,  258;  on  terracotta;  reliefs, 
95,   170,  statuettes,    144;  on 


E  X 

vases,  48,  128,  129,  166,  167- 

168,  170 
Column  Krater,  sec  Krater 
Combat,  scenes  of,  on  vases,  166, 

170 

Comic  Actors,  terracotta  figures 
of,  165 

"Conversation  Scenes,"  on 
vases,  102 

Copper,  on  inlay  work  on  bronze 
statue,  184 

Corinth,  ceramic  center  in  early 
Greek  period,  49 

Corinthian,  helmet,  70;  pottery, 
prominence,  provenance,  and 
technique,  48,  49;  and  speci- 
mens, 53 

Cornelius,    potter's  inscription 

on  Arretine  ware,  191 
Couch,  Roman  times,  copied  from 
Greeks,    196;    type  of  orna- 
ment used  to  decorate,  164 
Crab,  on  vase-painting,  169 
Crane,  on  engraved  gem,  130,  131 
Crete,  art,  characteristics,  and 
Egyptian    influence,    36,  89; 
ascendancy  of,  13;   in  Bronze 
Age,  6;  costumes,  34;  civiliza- 
tion of,  classification  and  peri- 
ods, 6,  7,  8,  9,  13;  divinity  of, 
11;  excavations  in,  4,  5;  fall 
of,  32;  influence  on  Greece,  13, 
14,  16,  21;  prehistoric  civiliza- 
tion of,  xiii,  xiv,  4,  6;  system 
of  writing,  3 1 
Crimea,  as  a  ceramic  center,  147; 

Corinthian  pottery  found  in,  49 
Crimean  Vases,  made  by  Athen- 
ian potters,  147 
Crocuses,  in  wall-painting,  15 
Cruet-Stand,    from  Campania, 
169 

Cuirass,  bronze,  fourth  century, 
140 

CuMAE,  jewelry  found  in  tomb 
at,  174 

Cut  Glass,  variety  of  Roman 
glass,  197 

Cycladic  Islands,  pottery,  from 
Ionian  school  in,  78 

Cypriote  Art,  local  and  individ- 
ual character  of,  xiv 

Cyprus,  bronze  statuettes  from, 
64,  65,  lis;  Cesnola  Collec- 
tion of  antiquities  from,  ix, 


INDEX 


265 


xiv;  engraved  gems  from,  84; 
Greek  art,  specimens  of,  from, 
xiv,  1 1  5 

Cyrenaic  Vases,  made  by  Athe- 
nian potters,  147 

Cyrenaica,  The,  as  ceramic  cen- 
ter, 147 

D 

Dance,  Minoan,  in  wall-painting, 
23,  24 

Decorative  Art,  motives:  in 
Arretine  pottery,  190;  on 
Hadra  vases,  170;  on  metallic- 
glaze  vase,  191;  in  Pompeian 
fresco  paintings,  180;  in  Ro- 
man times,  177,  256,  257 

"Delos  Warrior,"  statue  in 
style  of.  236 

Delphic  Tripod,  represented  in 
vase-painting,  76,  105 

Dexamenos,  Greek  gem-cutter, 
130 

Diadem,  gold,  1 52 

Didyma,  seated  statues  from, 
compared,  212 

DiKAST  Ticket,  140 

DiKTAEAN  Cave,  libation  table 
from,  12 

Diminutive  Vases,  use  of,  127 

DioNYSOS,  on  bronze  mirror,  137; 
in  fresco  painting,  180;  on 
jewelry,  152,  153;  marble 
sculptures,  158;  on  terracot- 
tas, 146;  on  vases,  77,  104,  108, 
122,  126;  Dionysos  (?),  mar- 
ble sculptures,  218 

DiosKouROi,  on  bronze  mirrors, 
162 

DiPYLON  Vases,  42 
Disk-Thrower,  bronze  statuette, 
91,  92 

Disks,  in  architectural  reliefs,  30; 

of  terracotta,  perforated,  166 
Dogs,  on  bronze  mirror,  93;  on 

engraved  gems,   13,   no;  on 

vases  with  old  man,  105;  vase 

in  form  of,  171 
Doidalsas,  statue  by,  241 
Dolphins  swimming,  decoration 

on  burial  jars,  10 
Donkey,  on  vases,  126 
Dragon,  on  vases,  122 
Drapery,  in  Tanagra,  146;  Par- 


thenon   pediment  sculptures, 
212;    sculptural  rendering:  in 
archaic,  210;  in  fifth  century, 
212;  in  Hellenistic,  238 
Drinking  Cups,  see  Kylix 
Duck,  vase  in  form  of,  171 

E 

Earrings,  152,  i'^3,  174 

echetlos  (?),  166 

Egnatian  Vases,  168 

Egnazia,  vases  from,  168 

Egypt,  art  motives  from,  com- 
pared, 27;  Corinthian  pot- 
tery found,  49;  glass  vases 
from,  84-85;  influence:  on 
Cretan  art,  36,  on  Etruscan 
art,  55,  Minoan  art,  36,  seal 
engravings,  9;  spread  of  Greek 
art  in,  1 56;  type  of  glass  vase 
derived  from,  84;  use  of 
bronze  mirrors,  93 

Egyptian  Chronology,  basis  for 
dating  Cretan  epochs,  7 

EiRENE,  goddess  of  peace,  statue 
of,  224 

Elis,  bronze  disks  found  at,  163 

Enamel,  in  jewelry,  152,  174 

Engraved  Gems,  art  of,  from  the 
Orient,  83;  decline  of  art, 
second  century  A.D.,  194;  ex- 
amples of,  18-19,  83-84,  1 10, 
130-131,  151,  171-173,  193-195; 
inscriptions  on,  173 

Engraved  Stones,  see  Engraved 
Gems 

Epaminondas,  132 

Epaulia,  Athenian  wedding  cus- 
tom, 124-125;  on  vases,  124 

Epicurus,  period  of,  philosophy 
of,  240;  portrait  head  of,  239- 
240 

Epidauros,     marble  decoration 

from  the  Tholos,  135 
Epikrates,  140 

Erechtheion,  architectural  orna- 
ment from,  1 16 

Eros,  bronze:  reliefs,  93,  136,  137, 
139-140,  162,  163,  statues  and 
statuettes,  160,  182;  on  en- 
graved gems,  110,  173,  193,  on 
jewelry,  153,  in  marble  sculp- 
ture, 256,  258,  on  vases,  124, 
126,  170 


266 


INDEX 


Erymanthian  Boar,  marble  re- 
lief, 253;  on  vases,  78,  81 
Etruria,  engraved  gems  from,  84 
Etruscan,  antefixes,  72;  art: 
characteristics,  63-64,  chron- 
ological arrangement,  xiii,  de- 
pendent on  Greece,  54-55,  63, 
138-139;  Italic  engraved  gems 
copied  in,  172;  bronze:  chariot, 
decorations  compared,  xii,  62- 
64,  statuette,  6S-69,  candela- 
brum, 119,  164,  cistae  from, 
162;  engraved  gems,  iio,  131, 
151;  fibula,  58;  frieze,  terra- 
cotta, 166;  glass  vase,  171; 
gold  disks,  85;  jewelry,  85; 
mirrors,  138-139;  plate,  54; 
pottery,  54-56,  166;  terracotta 
statue,  167;  tomb  group,  140 
Etruscans,  conquered  by  Rome, 

1 54;  origin  of,  54 
EuPHRONios,  vases  signed  by,  101 
Eurystheus,  on  vases,  78 
Eyes,  in  bronze  statuette,  of  sil- 
ver,   161;    as   decoration  on 
vases,  100;  drawing  of  in  early 
fifth  century,  100-101;  paint- 
ing of  in  profile,  development, 
100-101;     treatment    of:  in 
Antonine  period,  252,  archaic 
period,  76,  204,  205,  in  fourth- 
century    sculpture,    228,  by 
Skopas,    232,    in  transitional 
period,  94,  in  vase-painting,  100 

F 

Faience,  Egyptian  impulse,  36; 
from  Knossos,  11,12 

Farmyard,  miniature  bronze  group, 
from  Civita  Castellana,  187 

Female  Figures,  conventional- 
ized, as  decoration  on  vases, 
170;  draped,  120,  166,  208, 
211;  first  prominent  in  fourth- 
century  sculpture,  225,  226;  as 
stand  of  bronze  mirror,  93; 
statuettes  of,  93,  120,  166; 
statues,  208,  211:  in  style  of 
"Akropolis  Maidens,"  208; 
from  Tarentum,  166;  terra- 
cotta ornament  on  vase,  146; 
winged,  on  engraved  gems,  84 

Female  Head,  as  architectural 
ornament,  258;    in  color,  in 


vase-painting,  168;  marble 
sculptures,  226,  228,^258;  on 
bronze  mirror-cover,  94,  1 16, 
1 17;  type  of,  on  fifth-century 
coins,  117;  in  vase-painting, 
168,  169 

Fibulae,  as  chronological  data,  45; 
examples,  152,  153;  period  and 
use,  44,  45 
Filigree,  gold  work,  15 
"Filler,"  Minoan,  20 
Finger-Ring,  gold,  152 
Fish,  flying,  on  wall-painting,  16 
Flavian  Period,  69-96  A.D.,  248 
Floral    Designs,    on  Arretine 
vases,  190;  on  bronze  dagger- 
blade,  18;    Hadra  vases,  170; 
on  mirror  cover,  118;   in  Ro- 
man decorative  work,  256. 
Flower-Pot,  from  Phylakopi,  20 
Flowering  Plant,  in  wall-paint- 
ing, 15 

Flowers,  gold  rosettes  in  the  form 
of,  1 52 

FocoLARi,  Etruscan  braziers,  56 
Forgeries,  of  Tanagra  statuettes, 
146 

Fortuna,  on  engraved  gems,  194 
Fox,  on  mirror  stand,  93 
Frescoes,  painting  of,  technique 

ancient  and  modern,  178,  179; 

from  Pompeii,  177,  182 
Frog,  on  vase,  169 

G 

Galene,  172 

Gallienic  Period,  253-268  A. D., 

portraits  from,  254 
Ganymede,  on  vase,  122 
Garden,  in  fresco  painting,  181, 

182 

Garland,  in  fresco  painting,  180; 
on  vases,  168 

Garnets,  and  glass  beads  in  ear- 
ring, 174 

Gate  of  Mycenae,  lion  relief  from 
(cast),  28 

Gaul,  conquered  by  Rome,  154; 
as  provenance  of  metallic-glaze 
pottery,  192 

Gaul,  fighting,  statue  of  com- 
pared, 236 

Gems,  engraved,  see  Engraved 
Gems 


INDEX 


267 


Geometric  Period,  its  date,  char- 
acteristics, and  products,  10, 
39,45,  50,  51,  52 

Gilding,  steatite  vases,  17 

Gilt,  bronze,  rings  of,  for  en- 
graved stones,  172;  wreath  on 
black  Apulian  vases,  149 

Girl,  bronze  statuette,  188;  in 
marble  relief,  204;  on  en- 
graved ring,  III,  153;  head, 
marble,  157,  228;  ivory  relief 
of,  72;  on  vases,  124,  126,  149 

GiusTiNiANi  Collection  of  Mar- 
bles, 225,  254 

Glass  Beads,  "eyed"  variety, 
72;  in  earrings,  174;  as  sub- 
stitutes for  precious  stones, 
174;  types  and  decoration,  45; 
blowing,  period  of  invention 
and  effect  on  manufacture, 
84,  171,  196,  197;  inlay,  on 
Roman  couch,  196;  iridescence 
of,  and  cause,  197;  paste,  sub- 
stitute for  gems,  172;  vases, 
examples  of,  84,  171,  196,  197; 
techniques,  84,  171,  196,  197 

Glaze,  figures,  outlined,  with  vase- 
painting,  129;  reddish  brown 
on  Arretine  pottery,  190;  see 
also  Black  Glaze 

Glazed  Vases,  earliest  specimens, 
third  and  second  centuries 
B.C.,  192;  imitated,  193 

Glyptothek,  Munich,  replica  of 
Rirene  statue  at,  224 

Goat,  on  bronzes,  162;  faience 
relief,  12;  marble  statue,  242; 
on  vases,  108;  heads,  on  ter- 
racotta antefix,  167;  use  of  as 
sacrificial  offerings,  241 

Goddess,  head  of,  marble,  fourth 
century,  226-228;  mother,  chief 
divinity  of  Crete,  1 1 ;  of  peace, 
see  Eirene;  snake,  faience, 
from  Knossos,  1 1 

Gold,  cups,  from  Vaphio,  17;  in 
Greek  sculpture,  20;  jewelry, 
17,  18,  1 1 1,  142,  151,  1 52,  I  53, 
174,  195 

Gold-Beater's  BLOCK,bronze,  198 

GoRGONEioN,  on  vase,  169 

Gournia,  vases  from,  20 

"Graceful  Style,"  vase-paint- 
ing, development  of,  121;  ex- 
amples of,  123-127 


Graeco-I  talian     Vases,  com- 
pared with  Athenian,  iso-151 
Granulation,  gold  work,  151 
Grape,  clusters  of,  158,  170,  190, 
256 

Gravestone,  sec  Stele 

Greaves,  bronze,  70,  95 

Greece,  conquered:  by  Mace- 
donia, 133,  by  Rome,  156;  con- 
querors of  Crete,  32;  debt  of 
modern  civilization  to,  xiv-xv; 
dominated  by  Crete,  13,  21; 
ruled:  by  Athens,  132,  by 
Sparta,  132;  victorious  over 
Persia,  88 

Greek,  art:  characteristics,  xv, 
xvi,  63,  81-82,  90,  156-157,214, 
chronological  arrangement,  xii, 
xiii,  division  into  schools,  114, 
effect  of  victory  over  Persia  on, 
88-89,  fifth  and  fourth  cen- 
turies compared,  134,  lo\e  of 
beauty  against  realism,  69,  130, 
and  Minoan,  compared,  36-37, 
a  model  for  that  of  Rome,  176, 
Oriental  influence,  45,  Roman 
copies  of,  xiii,  value  and  appre- 
ciation of,  xiv;  costumes  differ- 
ing from  Crete,  34;  craftsmen, 
approach  to  higher  arts,  1 1 1- 
112;  graves,  photographs  of, 
86;  life,  figured  on  pottery,  74; 
literature  as  a  model  for  that  of 
Rome,  176;  warrior  attacking 
Persian  soldier,  vase-painting, 
106 

Greeks,  burial  vases  of,  from 
Alexandria,  169;  use  of  bronze 
mirrors,  93;  and  Amazons,  on 
vases,  108,  128 

Grief,  representation  of  in  Greek 
art,  130;  see  also  Sorrow 

Griffin,  24,  56 

Grotesque  Figures,  bronze  statu- 
ettes, 161,  188;  on  metallic- 
glaze  vase,  192 

"Ground  Ornaments,"  in  Greek 
pottery,  52 

"Grylloi,"  on  engraved  gems, 
»73 

H 

Hades,  95-96,  110,  149 
Hadra,  stelai  from,  258;  vases 
from,  X,  169 


268 


INDEX 


Hadrianic  Period,  i  17-138  A. D., 
186,  250 

Hagia  Triada,  discoveries  at,  5; 
pottery  from,  20;  sarcophagus, 
24-26;  wall-paintings  from, 
14-16 

Hair,  treatment  of,  in  Greek  and 
Roman  sculpture,  203,  206,  222, 

228,  229-230,  232,  250,  2SI, 
252,253,254;  in  vase-painting, 
121;  worn  long  in  Minoan 
time,  3 

Handles,  16,  138,  162,  171,  IV35, 
193 

Hannibal,  defeat  of,  154-156 
Hare,  15 

"Harvester  Vase,"  16-17 
Hegesiboulos,  potter,  104 
Hegeso,  gravestone  of,  compared, 
213 

Helios,  the  sun-god,  on  vase,  82 

Hellenistic,  art,  characteristics 
of,  156-157;  period:  154-174, 
introduction  of  cameo,  172, 
statues  erected  in  honor  of 
prominent  men,  238;  potters, 
employment  of  plastic  decora- 
tion, 170;  sculptors,  forceful 
modeling  of,  shown,  237-238; 
sculpture:  234-242,  represen- 
tation of  children  in,  221 

Helmet,  70,  140,  164;  wearing  of, 
in  antiquity,  xii 

Hephaistos,  on  vases,  126 

Herakles,  comic  terracotta  statu- 
ette of,  144;  on  engraved  gems, 
76,  78,  79;  statues  and  statu- 
ettes, 67,  160-161,  237,  238; 
torso  of,  compared  with  Bel- 
vedere torso,  238;  on  vases,  76, 
78,  79,  10 1 ;  exploits  of:  and 
Atlas,  118,  attack  on  Busiris, 
loi,  106,  carrying  off  Delphic 
tripod,  105,  carrying  Eryman- 
thian  boar,  81,  255,  combating 
sons  of  Eurytos,  loi,  fighting 
Lernaean  Hydra,  169,  throt- 
tling Nemean  lion,  80,  131,161- 
162,  throwing  rock  on  Kyknos, 
82,  and  Triton,  81 

Hercules,  and  Juno,  on  mirror,  163 

Herm,  a,  217-218 

Hermarchos  (?),  bronze  statuette, 
158,  159 

Hermes,  and  Dionysos,  in  fresco 


painting,  180;  on  engraved 
gems,  84;  as  god  of  commerce, 
188;  of  Praxiteles,  compared, 
135,  228-232;  stealing  oxen  of 
Apollo,  vase-painting,  82 

HiERON,  potter's  signature  on 
vases,  102 

HippoLYTE,  Queen,  on  vase,  7*^ 

Horse,  on  engraved  gem,  131; 
marble  relief,  232;  statuette, 
67;  -race,  on  vases,  80,  82,  170 

Horseman,  marble  relief,  232-234; 
on  vases,  123,  170 

Horse-Trappings,  bronze,  198 

Hound  Rampant,  258 

Hounds,  attacking  boar,  fresco,  34 

Human,  body,  representation  of,  in 
Greek  art,  xvi;  figure:  as  dec- 
oration, from  Oriental  art,  55, 
56,  drawing  of,  in  early  fifth 
century,  100,  in  vase  decora- 
tion, 35-36 

Hunting-Scene,  34,  170,  190,  195 

Hydria  (water-jar),  76,  78,  81,  94, 
104,  123,  124,  126,  149,  170 

Hygeia  (?),  224 

I 

Incense  Burner,  bronze  plate  of, 
from  tomb  group,  142;  en- 
graved on  ring,  1 53 

Inlay  Work,  85,  152,  161,  184 

Inscriptions,  on  Arretine  ware, 
190-19 1 ;  on  dikast's  ticket, 
140;  on  engraved  stones,  173; 
on  Etruscan:  mirrors,  138, 
urns,  166-167;  on  Hadra  vases, 
169;  on  mirrors  from  Prae- 
neste,  163;  names  of  persons 
represented,  100,  173;  on  Pana- 
thenaic  amphorai,  80;  on 
Roman  vases,  199;  signature 
of  artist,  239;  on  stelai,  204, 
208,220,222-223,258-259;  on 
terracotta  urns,  166-167 

Intagli,  stamps,  on  Arretine  pot- 
tery moulds,  190 

Ionia,  art  of  engraving  gems  in,  83 

Ionian  Pottery,  black-figured 
style,  63;  drinking  cup,  78 

Iron  Age:  end  of  Cretan  civiliza- 
tion in,  6,  type  of  fibulae  used 
in,  84;  articles  of,  in  the  tomb 
group,  142 


INDEX 


269 


Italic,  engraved  gems:  two  styles, 
172,  inscriptions  on,  173;  fib- 
ulae, 44;  helmets,  type  found 
on  battle-field  of  Cannae,  164; 
mirrors,  decorations,  charac- 
teristics and  provenance,  162; 
pottery,  147-148,  171 

Italo-Corinthian,  imitation  Cor- 
inthian, 49 

Italy,  as  ceramic  center,  147-148; 
Corinthian  pottery  found  in, 
49;  metallic-glaze  pottery,  192; 
Roman  engraved  stones  from, 
171 

Ivory,  figures  from  Knossos,  16; 
relief,  72;  used  by  Greek  sculp- 
tor, 201 

Ivy,  15,  170,  237 

J 

Jewelry,  ancient  and  modern 
compared,  85-86;  see  also  Gold 
Jewelry 

Jug,  II,  140,  141,  192,  199;  on 

vase,  126 
Juno,  and  Hercules,  on  mirror,  163 

K 

Kadmos,  killing  dragon,  on  vase, 
122 

Kakovatos,  pottery  from,  31 

Kephisodotos,  sculptor  of  original 
statue  of  Eirene,  224 

Kerberos,  on  vase,  80 

"  Kleinmeisjer,"  type  of  pottery, 
drinking-cup,  77 

Kleophrades,  vase-maker,  105 

Knidian  Aphrodite,  bronze  statu- 
ette in  attitude  of,  160 

Knossos,  excavations  on  the  site 
of,  5,  9,  10,  II,  12,  16,  21-24, 

27-  3'.  32 
KoTTABOS,  Athenian  game,  118- 
119 

Kotyle,  124 

Krater,  53,  76,  100,  106,  108,  1 16, 
123,  126;  bell,  105,  122,  148; 
column,  104;  represented  on 
vase,  126 

Kresilas,  Cretan  sculptor,  possi- 
ble sculptor  of  athlete  statue. 
217 

Kybele,  image  of,  in  processional 
car,  drawn  by  lions,  184-185 


Kylix,  78,  100,  1 01,  102,  103,  104, 
105;  covered,  see  Lekane 

L 

Labyrinth,  derivation  of  word,  5; 

finding  of  at  Knossos,  5 
"Laconian"   Grave,   gold  cups 

from,  17;  vase,  52 
Lamp,  30,  70,  164,  192 
"Lamp-Feeders,"  168 
Lapiths,  and  Centaurs,  on  vase, 

108 

Lasa,  141,  162 

Laurel,  sprays  of,  170 

Laurion,   female  draped  statue 

from,  210 
Lead,  208 

"Lekane,"  124,  149 

Lekythos  (oil-jug),  103,  104,  108- 

109,  no,  124,   126,  128-129, 

149,  224 

Lernaean  Hydra,  on  vase,  169 
Leuctra,  battle  of,  132 
Libation,   scene,  on  vase,  123; 

table,  steatite,  from  Diktaean 

Cave,  12;  vase,  5^6'  Rhyton 
Lilies,  wall-painting,  15 
Limestone,  in  Minoan  stonework, 

30;  used  by  Greek  sculptor,  201 
Line-Drawing,  in  vase-painting, 

121,  124 

Lion,  in  bronze  Kybele  group, 
185;  on  engraved  gems,  131; 
from  Oriental  art,  56;  -hunt,  on 
bronze  dagger-blades,  18;  mar- 
ble statue  of,  218;  Nemean,  see 
Nemean  lion;  Oriental  decora- 
tion, 48;  relief,  from  Gate  of 
Mycenae,  28;  statue  of,  com- 
pared, 218 

Lioness,  head,  sculpture,  28 

"Locrian"  Relief,  terracotta, 
example  of,  95-96 

Lotos,  in  Greek  art,  74;  Oriental, 
48 

LouTROPHOROS,   104;    use  of,  in 

antiquity,  82-83 
Lucanian  Vases,  characteristics, 

148 

Lucius  Verus,  portrait  head  of, 
252 

Lydia,  ornamental  tile  from,  72; 
terracotta  mask  from,  71;  ter- 
racotta statuette  from,  71 


270  I  N 

Lydian  Pottery,  52 

Lysippos,  characteristics  of  style, 

136;  influence  shown  in  bronze 

statuette,  136 

M 

Maenad,  on  terracotta  relief,  200; 

on  vases,  77,  102,  123,  192 
Makron,  painter  of  Hieron  vases, 

102 

Marble,  in  Greek  sculpture,  201, 
202 

Marine  Scene,  on  Etruscan 
frieze,  166 

Marriage-Vase,  124,  127 

Masks,  grotesque:  beads  in  form 
of,  72,  as  decoration,  from 
Oriental  art,  55,  72;  on  Arre- 
tine  mould,  190;  of  Medusa, 
72;  from  Mycenae  shaft- 
graves,  18;  terracotta,  from 
Rhodes,  71;  tragic,  colossal 
size  used,  in  Roman  period, 
198;  on  vases,  168 

Meander,  used  in  classical  period, 
42 

Meat-Hook,  bronze,  164 

Medusa,  head  of,  170;  mask  of, 
72;  and  Perseus,  in  vase- 
painting,  108 

"Megarian  Bowls,"  Italian  imi- 
tation, 171;  influence  of,  123- 
124 

Meidias,  maker  of  "graceful" 
style  vases,  123-124 

"M ELIAN,"  terracotta  relief,  95 

Melos,  pottery  from,  20;  terra- 
cottas found  in,  95;  wall- 
paintings  from,  16 

"Menander,"  portrait  statue 
compared  with,  238 

Mesopotamia,  influence  on  Etrus- 
can art,  55 

Messapian,  vases,  128 

Metallic-Glaze  Vases,  charac- 
teristics, decorations,  and  tech- 
nique, 189,  191-193;  examples 
of,  191-192 

MiLLEFiORi  Glass,  variety  of 
Roman  glass,  197 

MiMUS,  188 

Miniature,     farmyard,  bronze 

group,  187;  vases,  82,  126 
Minoan  Art,  an  appreciation,  36- 


E  X 

37;  characteristics  of,  19; 
circus  represented,  22-23;  col- 
umns, characteristics  of,  30; 
costumes,  11,  15-16,22,23,24, 
34;  decline  of,  33;  derivation 
of  word,  7;  engraved  stones, 
9,  18-19;  fresco-painting,  14- 
16,  21-24,  33~35'  gold  jewelry, 
8;  goldsmith's  work,  17-18; 
life  represented  in  wall-paint- 
ings, 21;  man,  appearance 
and  costume,  22;  ritual,  25-26; 
sculpture,  12,  16,  27-29;  stone 
work,  29-30;  women,  15-16, 
22,  23,  24,  34;  see  also  Crete 
Minos,  ring,  4,  14,  32;  throne  of, 
29 

Minotaur,  on  vases,  79,  105 
Mirrors,  bronze,  decorated,  93, 

94,  1 16-1 17.  118,  136-137,  138, 

141-142,  162 
Mirror-Stands,  64,  93,  94 
Mochlos,  discoveries  at,  5,  8 
Monster,  shapes,  from  Oriental 

art,  62;  winged,  256 
MoNTELEONE,    Etruscan  bronze 

chariot  from,  62-64 
"Monumental     Style,"  vase- 
painting,  121,  122-123 
Mosaic  Glass,  see  Millefiori  Glass 
Mother-Goddess,  1 1 
Moulds,  Arretine  pottery  made 

from,  190;  terracotta,  166 
Mule's  Head,  163 
Mural  Reliefs,  in  Roman  times, 

I 99-200 

Mycenae,  shaft-graves,  4;  archi- 
tectural reliefs  from,  30;  dis- 
covery of,  4;  warrior  vase,  35; 
shaft-grave  objects,  18 

Myrina,  Asia  Minor,  terracotta 
figures  found  at,  164 

Myron,  bronze  statuette  showing 
influence  of,  93 

N 

Narkissos  (?),  216 

Naxos,  marble  from,  for  Greek 
sculpture,  202 

Necklace,  i  52,  174 

Nemean  Lion,  Herakles  throt- 
tling, see  Herakles 

Nemesis,  on  engraved  gems,  194 

Neo- Attic  reliefs,  compared,  200 


INDEX 


271 


Neolithic  ware,  pottery,  in  imi- 
tation of  ,  8 

Neoptolemos  killing  Priam,  on 
vase,  100 

Nereid,  140,  170,  172;  monument, 
lions  from,  compared,  218 

NiCEPHOR,  workman  on  Arretine 
pottery,  191 

Niello,  161,  184,  187 

Nike,  chalcedony  statuette  of, 
195;  on  vase,  104 

NiKERATOs  OF  ATHENS,  statue  as- 
cribed to,  236 

NiKOSTHENES,  Greek  potter,  76-77 

NioBiD,  a  (?),  torso  of  boy  perhaps 
identified  as,  213 

NoLA,  krater  from,  104 

"Nolan"  Amphorai,  definition  of 
name,  104;  Italian  vase  remi- 
niscent of,  148 

NoRCiA,  Roman  couches  with  bone 
fittings  found  at,  196 

Northern  Africa,  as  ceramic  cen- 
ter, 147 

Nurse,  old,  and  baby,  comic  terra- 
cotta statuette,  144 

O 

Odysseus,  attacking  Circe,  en- 
graving on  mirror,  138 

Offerings  to  the  dead,  vases  with 
white  ground  as,  128 

OiNOCHoii  (wine-jug),  53,  77-78, 
105,  123,  124,  126-127 

Olbia,  Southern  Russia,  metallic- 
glaze  vase  found  at,  192 

Olympia  pediment  groups,  90 

Olympos,  terracotta  plaque  from, 
57 

Onos,  use  of  in  antiquity,  82 
Oracles,  consultations  of,  subject 

of  Etruscanized  Italic  engraved 

stones,  173 
Orchomenos,  architectural  reliefs, 

30 

Oriental  influence  on  Greek  art, 
4S-46,  48,  49,  50,  51,  52,  55,  56, 
58,  72,  83 

Ornament,  architectural,  see  Ar- 
chitectural Ornament;  round: 
bronze  repousse,  118,  end  of 
fifth  century,  1 18 

Ornamental,  designs,  borrowed 
from  Egypt,  36;  decoration  on 


pottery,  74;  motives,  archaic, 
74,  on  "Hadra"  vases,  170; 
painted  on  finial  of  Attic  stele, 
204;  showing  Greek  influence, 
128;  on  specimens  of  drinking- 
cups,  79;  in  vase-painting,  79; 
in  wall-painting,  26;  see  also 
Decorative  Art  ' 

Ornaments,  from  Mycenae  shaft- 
graves,  18;  relief,  on  vases,  168; 
stamped,  on  vases,  168 

Orvieto,  Roman  couches  with 
bone  fittings  found  at,  196 

Othryades,  Spartan  hero,  173;  on 
Etruscanized  Italic  gems,  173 

OwL,officialemblemof  Athens,  140 

P 

Pachyammos,  burial  jars  from,  10 
Paint,  see  Color 

Painted  Glass,  variety  of  Roman 
glass,  197 

Painting,  on  Minoan  sarcopha- 
gus, 24-26;  omission  from  his- 
tory of  Greek  art,  177;  in  the 
Roman  period,  177-182;  in- 
scriptions on  Roman  vases,  199; 
wall-painting,  178-179 

Paintings,  Greek,  loss  of,  201 

Palmette,  27,  30,  48,  74,  170,  204, 
208;  borrowed  from  Oriental 
art,  48,  74 

Pan,  god  of  Arcadian  peasants,  66 

"Pan  Master,"  attributed  to,  104 

"  Panaisches,"  inscription  on  At- 
tic stele,  208 

Panaitios  Master,  character  of 
work,  101-103 

Panathenaic  Amphora,  example 
of,  82 ;  use  of  in  ancient  times,  80 

Panathenai's,  inscription  on  stele, 
222 

"  Pankration,"  Athenian  sport, 
explanation,  80 

Panther,  as  decoration,  for  Orien- 
tal art,  48,  56;  female,  bronze 
statuette  from  Rome,  186 

Paris,  judgment  of,  on  vase,  1 10 

Paros,  Island  of,  marble  from,  for 
Greek  sculpture,  202;  torso  of 
female  draped  figure  from.,  208 

Parthenon,  artistic  standard,  1 14; 
sculptures  on,  compared,  121, 
123,  212,  232 


272 


INDEX 


Patera,  69,  141 

Peace,  Goddess  of,  see  Eirene 

Pearls,  with  gold  beads,  on  neck- 
lace, 174 

Pegasos,  on  vase,  109 

Peitho  (Persuasion),  figure  on 
marble  relief  fragment,  135 

"  Pelasgians,"  32 

Peleus,  and  Thetis,  engraving  on 
mirror,  138;  on  vase,  123 

Peloponnesian  War,  effect  on 
Athens,  1 14-1 15,  132 

Pentelikon,  Mountain,  marble 
from,  for  Greek  sculpture,  202 

Penthesilea  (?),  on  hydria,  104 

"Penthesilea  Master,"  vases 
attributed  to,  106 

Perennius,  M.,  inscription  on  Ar- 
retine  ware,  191 ;  head  of  Arre- 
tine  pottery  establishment,  191 

Pergamene  School,  of  sculpture, 
statue  from,  234-236;  type  of 
satyr,  162 

Perikles,  age  of,  113;  cited  on 
Greek  love  of  beauty,  xvii 

Persephone,  95-96,  149;  Perse- 
phone (?),  marble  head,  228 

Perseus,  and  Medusa,  on  vase, 
108 

Persia,  world  position  in  fifth  cen- 
tury B.C.,  87 

Persian,  soldier  attacked  by 
Greek  warrior,  106 

Phaistos,  5,  9 

Phaistos  Disk,  12,  13 

Phaleron,  Athenian  vase,  50-51 

Pheidian  Period,  influence  in 
fourth  century,  134 

Pheidias,  greatest  exponent  of 
Greek  art,  1 13-1 14 

Philemon,  workman  of  Arretine 
pottery,  191 

Philip  of  Macedon,  conquest  of 
Greece,  133 

Phoenician  Settlement,  influ- 
ence on  art,  48 

Pholos,  on  vase,  79 

Phylakopi,  wall-painting  from,  16 

Plasma,  engraved,  no 

Plates,  black-glaze,  169 

Plotina,  wife  of  Trajan,  portrait 
identified  as,  250 

Ploutos,  god  of  wealth,  in  arms  of 
Eirene,  224 

Polychrome  Pottery,  10,  20 


PoLYGNOTOs,  vasc-paiu ter,  107 
PoLYKLEiTos,  Argive  sculptor,  114, 

1 1 5,  216,  258 
PoLYXENA,  in  vase-painting,  79 
Pomegranate,  204,  210,  213 
Pompeii,  frescoes  from,  177-179, 

180-182 

PoNiATowsKi,  engraved  gems,  195 

Porphyry,  use  of  for  sculpture,  250 

Portrait,  busts:  bronze,  186, 
changes  in  form  of,  in  different 
periods,  248,  249,  250;  marble, 
246,250-251;  head:  of  basalt, 
244-246,  bronze,  from  Susa, 
186,  marble,  of  Epicurus,  239- 
240,  of  porphyry,  250,  technical 
changes  in,  252;  relief,  Lucius 
Verus,  252;  statues:  238,  239; 
erection  of,  to  prominent  men, 
238;  by  Zeuxis,  compared,  239 

Portraits,  on  engraved  gems, 
Roman  period,  193,  194 

Portraiture,  excelling  branch  of 
Roman  art,  177,  242,  243-246, 
249-250,  253,  254 

PosEiDiPPOS,  portrait  statue  com- 
pared to,  239 

Poseidon,  126,  136,  188 

Pottery,  Arretine,  189;  "  Buc- 
chero"  (Etruscan),  54-56;  Cor- 
inthian, 48-49;  Athenian:  geo- 
metric, 39-43,  seventh  century, 
49-51,  53,  sixth  century,  73-83, 
fifth  century,  96-110,  121-130; 
Calenian,  168;  Canosa,  170; 
Egnatian,  168;  Ionian,  78; 
Lydian,  51;  metallic  glaze,  191; 
Minoan,  8-9,  10,  19-21,  30-31, 
35;  South  Italian,  147-151; 
terra  sigillata,  193,  198,  199 

Praeneste,  type  of  mirror  found 
at,  162 

Praxiteles,  characteristics  of  work 
of,  226,  228-230,  232;  Hermes 
compared,  228-232;  copied  in 
fresco  painting,  180;  marble 
head  in  style  of,  135;  influence 
of,  157 

Priapos,  165 

Priest- King,  of  Knossos,  27 
Prometheus,  141 
Prothesis  Scene,  129 
Proto-Attic  Ware,  50,  51,  53 
Pseira,  8,  10,  20 
PsYKTER  (wine  cooler),  100 


INDEX 


Pygmy,  171 

Pyxis  (toilet  box),  105,  no,  124, 
•71 

R 

Rabbit,  93,  210 

Ram,  Phrixos  on,  relief,  terracotta, 
95 

Realism,  in  Greek  art  in  Hellenis- 
tic period,  1 56 

Realistic  School,  Hellenistic  pe- 
riod, statuettes  from,  234,  236 

Red-Figured  Technique,  advan- 
tages of,  98;  basis  for  Italian 
pottery,  147-148 

Red-Figured  Vases,  100,  124, 
127-128,  147-148;  black  figures 
combined  on  white  ground,  108 

Relief,  decoration  on  vases,  168, 
189,  198;  in  imitation  metal 
ware  on  pottery,  168 

Religion,  Minoan,  26 

Religious  Scenes,  subject  of 
Etruscanized  Italic  stone  en- 
graving, 173 

Remus  and  Romulus,  with  Roman 
wolf,  on  Hellenized  Italic  gem, 
173 

Renaissance,  debt  of  artists,  to 
antiquity,  200;  engraved  gems 
of,  194;  revival  of  classical  civil- 
ization in,  xiv-xv;  stucco  reliefs 
of,  compared,  199-200 

Repousse  Relief,  116,  152 

Reproductions,  Cretan,  work  of 
M.  E.  Gillieron,  6 

Republican  Period,  portraiture, 
243-246;  Roman,  to  31  B.C., 
243 

Revelers,  on  vase,  105 
Rhodes,  terracotta  female  mask 
from,  71 

Rhyton,  head  of  bull  as,  from 
Knossos,  12 

Ring,  gold,  in  tomb  group,  142 

Rings,  of  gilt  bronze,  engraved 
stones  set  in,  172 

RoDO,  workman  on  Arretine  pot- 
tery, name  inscribed  on  ware, 
191 

Roma,  173 

Roman,  art:  characteristics  of, 
172,  176,  177,  248,  254,  256; 
chronological  arrangement,  xiii; 
copying  Greek  works,  xiii,  162, 


176,  214,  242;  portraiture,  nat- 
ural expression,  242;  Empire: 
extent  of,  time  of  Augustus, 
175;  rise  of,  156;  house,  typical 
arrangement  in  Imperial  times, 
178;  literature,  modeled  on  that 
of  Greece,  176;  portraits,  sty- 
listic development  of,  242 

Rome,  as  an  empire-builder,  175- 
176;  conquests  of,  154,  155; 
controlling  power  of  Mediter- 
ranean, 156;  influence  on,  of 
Greek  culture,  156;  portrait 
statue  from  Villa  Patrizi  in, 
239;  rising  of  power  of,  154; 
tomb-chambers,  use  of  stucco 
ornamentation  in,  199 

Romulus  and  Remus,  with  Roman 
wolf,  on  Hellenized  Italic  gems, 
173;  on  necklace,  i  52 

Rosettes,  in  architectural  reliefs, 
30;  gold,  152;  on  necklace,  152 

S 

Sacrificial  Scene,  173,  190 
Safety-Pins,  5tv  Fibulae 
Sarcophagi,  counterpart  to  Greek 

grave  reliefs,  257;  urns  in  shape 

of,  166 

Sarcophagus,  limestone,  from 
Hagia  Triada,  24-26 

Sardonyx,  cameo,  172 

Satyr,  bronze  statuettes  and  re- 
liefs, 162,  163,  164;  on  vases, 
77,  81,  104,  108,  122,  124,  126, 
186,  190;  and  infant  Dionysos 
in  fresco  painting,  180;  marble 
head  of,  style  of  "  Dresden 
Satyr,"  258;  Hellenistic,  158; 
terracotta  relief,  200 

Scarab,  83,  1 10 

ScARABOiD,  130-131 

Script,  ^ce  Writing 

Sculpture,  Etruscan  employment 
of  clay,  167;  highest  expression 
of  Greek  art,  201;  marble, 
chronological  arrangement,  202- 
203 

Scythian  Costume,  relief  on  mir- 
ror cover,  136;  identification  of, 
136,  137 

Seal  Engravings,  9,  10 

Seilenoi,  bronze  statuettes  and 
reliefs,  67-68,  136-137;  masks 


274 


INDEX 


of,  as  decoration  on  vase,  loo; 
on  vases,  loo,  102,  122,  126 
Serapis,  head  of,  on  engraved  gem, 
172 

Shaft-Graves,  Mycenae,  4,  17 

Shovels,  bronze,  198 

Shrine,  gravestone,  fourth  cen- 
tury, in  form  of,  220,  221 

Sicily,  bell-krater  from,  148 

Signatures,  of  artists,  on  vases, 
76-77,  10 1,  102;  on  engraved 
gems,  194 

Silver,  amphora,  from  tomb 
group,  142;  box  from  tomb 
group,  142;  cup  with  bronze 
handle,  69;  eyes  in  bronze 
statuette  of,  161;  handle  to 
bowl,  decorated  in  relief,  195; 
inlay:  in  bronze  rim  of  marble 
table,  184;  on  panther  statu- 
ette, 186-187;  overlay  on  reliefs 
on  bronze  chair  leg,  188;  strigil 
from  tomb  group,  142;  teeth  in 
bronze  statuette  of,  161;  used 
by  Greek  sculptor,  201 

Silvered,  figures  engraved  on  mir- 
rors, 138 

Siren,  48,  93,  94,  1 1 1,  221,  257 

SiSTRUM,  Egyptian,  in  vase  relief, 
16 

Skopas,  characteristics  of  work  of, 
232;  heads  by,  from  Tegea,  232; 
head  in  style  of,  226,  232 

Skyphos,  105 

Snake  Goddess,  costume  paral- 
leled, 34;  faience  from  Knos- 
sos,  I  I 

Sokrates,  tendency  of  teaching, 
•34 

Soldering,  with  lead,  use  of  in 
archaic  times,  208 

Sophists,  the,  tendency  of  teach- 
ing, 134 

Sorrow,  conceptions  of  by  sculp- 
tors in  fourth  century,  220 

Sostrate,  inscription  on  stele, 
220 

SosTRATOS,  inscription  on  stele, 
221 

South  Italian  Vases,  147 
Southern  Italy,  vases  decorated 
with  reliefs  and  statuettes  found 
in,  170;  as  ceramic  center,  147 
Southern   Russia,  glazed  vases 
found  in,  192 


Sparta,  ascendancy  over  Athens, 
132;  defeated  by  Thebes,  132; 
as  leading  Greek  state,  87;  rule 
of,  132 

Sphinx,  48,  146,  221 

Spinning,  representation  of,  on 
vases,  105 

Spirals,  18,  27,  30 

Spouts,  bronze,  198 

Stag,  on  engraved  gem,  131;  terra- 
cotta statuette,  71 

Stamnos,  122 

Statues,  erecting  of,  to  prominent 
men,  custom  of  Hellenistic 
period,  238 

Steatite,  bull's  head,  from  Knos- 
sos,  12;  casket,  from  Mycenae, 
30;  libation  table,  from  Dik- 
taean  Cave,  12;  in  Minoan 
stonework,  16 

Stele,  Athenian,  203-208,  212, 
220-224,  228;  painted,  from 
Hadra,  258 

Stesikrates,  inscription  on  gem, 
131 

"Stirrup-Vase,"  from  Gournia,3o 
Stone,  Age,  Late,  beginnings  of 
Cretan  civilization  in,  6;  urns, 
decoration  on,  166;  vases, 
Minoan,  8,  30,  36;  -work:  archi- 
tectural reliefs,  29-30,  vases,  30 
Stones,  precious,  importing  of  to 
Greece,  and  effect  on  jewelry, 
173 

Strainers,  bronze,  94 

Strigil,  140,  142,  198;  use  of,  in 

antiquity^    118,  221;    use  of, 

shown  in  marble  relief,  fourth 

century,  221 
Stucco  Reliefs,  as  decoration  of 

Roman  houses,  199 
SusA,  portrait  head  of  Agrippa  (?) 

from,  186 
"SuTHiNA,"  significance  of  word, 

140 

Sword,  bronze,  164 

Syracuse,  coins  of,  types  of  heads 

on,  compared,  258 
Syria,  kingdom  of,  established,  1 54 

T 

Table,  from  Boscoreale,  182-183; 
support,  decorative  work  of, 
256 


INDEX 


"Tanagra,"  origin  of  term,  142 
Tanagra  Statuettes,  character- 
istics and  examples,  142-147; 
compared,  164,  i65;  forgeries 
of,  146,  164;  use  in  antiquity, 
143 

Tarentine  Statuettes,  165-166 
Tarentum,  marble  head  from,  134; 

statuettes  from,  164-165 
Tarsus,  Roman  sarcophagus  from, 

258 

Teano,  vase  from,  169 

Terracotta,  antefixes,  166-167; 
figures  as  ornaments  for  vases, 
146;  heads,  57-58,  71,  167; 
masks,  71;  moulds,  166;  per- 
forated disks,  166;  reliefs,  57, 
166,  200;  statue,  167;  statu- 
ettes, 94,  120,  142,  144,  164-167 

Terra  Sigillata  Ware,  193,  198, 
199 

Thamyris,  124 

Thebes,  ruler  of  Greece,  132;  wall 

painting  from,  26 
Theseus,  80, 105,  258;  Theseus (?), 

118 

Thetis,  123,  148 

Tholos,  Epidauros,  fragment  from 

frieze,  135 
Thracian,  woman,  103 
Throne  of  Minos,  cast  of,  29 
Tiberius  (?),  248 
Tigranes,  inscription  on  Arrctine 

ware,  191 
TiRYNS,  fresco  painting  from,  26- 

27.  33-34 

Tombstone,  Athenian,  see  Stele 

Top,  girl  spinning,  126 

Toys,  diminutive  vases  as,  126- 
127;  probable  use  of  bronze 
group,  187 

Trajanic  Period,  249 

"Treasury  of  Atreus,"  half-col- 
umns from  entrance,  30 

Triton,  78,  81,  172 

Troilos,  79,  82 

Troy,  excavation  of,  4 

Tuscany,  armored  belt  from,  164 

U 

Urns,  Etruscan,  166-167 
Utensils,   bronze:    archaic,  69, 

Roman,  198;   cameos  used  as 

decorations  on,  172 


V 

Valladolid,  Spain,  statue  of  Her- 

akles  from,  238 
Vaphio  Cups,  18 
Vases,  see  Pottery 
Via  Latina,  stucco  decorations  of 

compared,  199 
Victoria,  on  engraved  gems,  194 
Victory,  flying,  terracotta  statu- 
ette, 165 

Volute  Krater,  handles  from, 
116 

Votive  Offering,  bronzes,  44,  92, 
1 16,  187;  female  draped  figure, 
marble  statue  as,  211;  statue 
of  goat  probably  as,  241 

W 

Wall-Painting,  Egyptian  im- 
pulse, 36;  Minoan,  14-15,  21- 
24,  26-27,  34 

Warrior,  on  terracotta  relief,  72; 
on  vases,  104,  105,  106,  109, 
122,  148;  Warrior  Vase  from 
Mycenae,  35 

Water-Jar,  use  of  in  ancient  and 
modern  Greece,  76;  see  Hydria 

Wax  Images,  of  deceased,  in- 
fluence on  portraitists  of  Re- 
publican era,  243-244 

Wealth,  god  of,  see  Ploutos 

Weight,  Minoan,  30 

Winged,  Eros,  bronze  statuette, 
188;  female  figure,  in  engraved 
gems,  84;  goat,  from  Oriental 
art,  56;  horses,  on  fibula,  52; 
lion,  human  head.  Oriental  art, 
56;  monsters,  as  decoration. 
Oriental,  48;  panther,  from 
Oriental  art,  56 

Wood,  used  by  Gieek  sculptors, 
201 

Wrestlers,  bronze  statuettes  as 

handles  of  cistae,  162 
Writing,  Minoan,  31 

Y 

Youth,  bronze  statuettes  and  re- 
liefs of,  66,  92,  115,  116,  118, 
162;  on  engraved  stone,  no; 
head  of,  in  terracotta,  167;  in 


276 


INDEX 


marble  sculpture,  134,  135,  203- 
204,  216,  232,  248,  254,  258;  on 
vases,  77,  124,  129 

Z 

Zakro,  one-handled  vase  from,  20 


Zeus,  bronze  statuette  of,  188; 

characteristics  associated  with, 

in  Greek  art,  214;  on  vase,  78, 

122;  Zeus(?),  94,  218 
Zeuxis,   inscription   on  portrait 

statue,  239 


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